116

CINDY CASHDOLLAR | LYNNE JACKAMAN | THE PRETTY THINGS | KIRK FLETCHER | MALAYA BLUE | PETER GREEN

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OCT/NOV 2020 | WELCOME

Editor’s comment

WELCOME to BM 116

I hear you out there…yes, we’re here

again with another dose of your

favourite Blues medication folks.

So how are you all doing as we are

supposed to be coming out of the

‘Covid’ situation?

It surprises me sadly to see so many

folk walking around without face

masks on. Have they learned nothing

about personal care and hygiene for

themselves and others?! It is another

sad reflection on the

human race that so

many show a lack

of care or thought

for others in these

hazardous times. The

politicians and the scientists

need to work

together and share

knowledge so we all

have one message and

set of safety rules to

follow.

It’s bad enough in the UK where we

suffer from ‘devolution’ with too

many differing sets of safety rules to

follow just depending on where you

are standing it seems. In such dire

times can we be so stupid? Wear a

mask unless in your own ‘bubble’ and

spare a thought for those around you

and not be so selfish, and maybe we

will all get through this - just maybe!

Yes, we are still here though sadly

there are a good number of publications

who are no longer with us as we

wade through this virus situation. BM

holds it’s course and quality for you.

While the world runs in circles, we

keep our focus on the Blues for you,

music will always get us through

to the other side. There are a lot of

acts out there doing their bit to keep

sanity in the house and offering up

lockdown sessions and

videos to help everyone

through in the absence

of actual live gigs and

festivals.

The retail world is in

turmoil as well due to

Covid, so we would suggest

(as some of those

magazine retailers are

looking to restructure)

considering a subscription

to your favourite

Blues publication. You can have your

copy delivered to your door, wherever

you are, and not miss a copy. You

won’t need to travel to find one then.

(Hint: direct debit is cheaper)

bluesmatters.com/subscriptions/

Enjoy your issue.

www.bluesmatters.com ISSUE 116 BLUES MATTERS! 5

INTRODUCTION | OCT/NOV 2020

BLUES MATTERS!

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Contributing Writers:

Bruce Alexander (USA), Tim Arnold (USA), Roy Bainton, Eric Baker (USA), Steve Banks, Adrian Blacklee, Eddy Bonte (Bel),

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Barry Fisch (USA), Sybil Gage (USA), Stuart A. Hamilton, Stephen Harrison, Trevor Hodgett, Barry Hopwood, Stacey Jeffries

(USA), Rowland Jones, Adam Kennedy. Jean Knappitt, Brian Kramer (Sw), Frank Leigh, Andy Lindley, Gian Luca (USA),

Ben McNair, John Mitchell, Glenn Noble, Toby Ornott, David Osler, Iain Patience (Fr), Alan Pearce, Dom Pipkin, Sharon

Ponsford, Simon Redley, Darrell Sage (USA), Paromita Saha-Killelea (USA), Glenn Sargeant, Dave ‘the Bishop’ Scott, Graeme

Scott, Jon Seymour, Andy Snipper, Dave Stone, Matty T. Wall (Aus), Don Wilcock (USA), Dani Wilde, Steve Yourglivch

Contributing Photographers:

Arnie Goodman, Jennifer Noble, others credited on page.

COVER IMAGE BY Jim Herrington.

Original material in this magazine is © the authors. Reproduction may only be made with prior Editor consent and provided that acknowledgement

is given of source and copy sent to the editorial address. Care is taken to ensure contents of this magazine are accurate, but the publishers

do not accept any responsibility for errors that may occur, or views expressed editorially. All rights reserved. No parts of this magazine may

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6

BLUES MATTERS! ISSUE 116 Our name says it all!

RONNIE

EARL

& THE BROADCASTERS

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CONTENTS

REGULARS

38 |

100 |

116 |

118 |

10 |

14 |

18 |

22 |

28 |

32 |

BLUE BLOODS

Our look at the artists you may not have discovered yet

THE BIG BLUES GUIDE

We find another batch of the best of blues for you to check out

IBBA CHART

The IBBA top 40 chart

RMR CHART

The RMR top 50 chart

PHENOMENAL BLUES WOMEN

Ruth Brown Fighting for blues justice

PETER GREEN

Death of a blues giant

RADIATING THE 88’S

We get the boogie-woogie lowdown

KIM SIMMONDS

A Welsh Wonderkid

BLUES DOWN UNDER

Lockedownunder

BOBBY PARKER

Hero of guitar remembered

FEATURES

8


INTERVIEWS

44 |

48 |

54 |

60 |

66 |

72 |

78 |

84 |

90 |

96 |

CINDY CASHDOLLAR

Waltzing On

KING KING

Alan Nimmo on being a maverick

LYNNE JACKAMAN

Shooting the breeze about a debut release

THE PRETTY THINGS

Dick Taylor in a rare interview

JOE BONAMASSA

The blues King brings us bang up to date

KIRK FLETCHER

The long road, from LA to Switzerland

ALLMAN BETTS BAND

It was almost always meant to be…

MALAYA BLUE

Full of Eastern promise

KAT RIGGENS

A cry out to a US blues lady

SHIRLEY KING

Daughter of the blues

PHENOMENAL

RUTH

BLUES WOMEN

BROWN

THE PHENOMENAL

CAMPAIGNING QUEEN OF R&B

Words: Dani Wilde

I had the pleasure of seeing Ruth Brown perform

live at Bishopstock Blues Festival in the year

2000. I was raised on her music and have always

had huge admiration for her as a rhythm and

blues singer. It wasn’t until more recently though

that I became aware of what Ruth Brown had

overcome to make it in the industry, and how she

used her influence as a performer to stand up for

musicians’ rights.

Brown fought for unpaid royalties, not just for

herself, but also on behalf of many rhythm and

blues Artists including Sam and Dave, Wilson

Pickett, and Big Joe Turner. She also formed the

Rhythm and Blues Foundation, the American

non-profit organization dedicated to the historical

and cultural preservation of rhythm and

blues music. Here is her story:

Ruth Brown was born Ruth Weston on January

12th 1928 in Portsmouth, Virginia. She was

the eldest of 7 children in a musical family. Her

father was a choir director at the local church

and when Ruth was just 4 years of age, he lifted

up onto the church piano where she made

her debut vocal performance. In the summer

months, Ruth and her siblings would pick cotton

at her grandmother’s farm in North Carolina.

Ruth would explain, ‘that made me the strong

woman I am.’ She knew, though, that she didn’t

want to spend her life in the cotton fields; Young

Ruth had dreams of a singing career and in her

teens she would sneak out to perform at Naval

base nightclubs.

“I got out of the house by saying I was going to

choir rehearsal” she would recall.

Although she enjoyed church music, Ruth

wanted to sing what her father called ‘the Devils

music.’ Ruth’s uncle had bought her a Billie Holiday

record and she was hooked! She also loved

Sarah Vaughan and Dinah Washington and you

can hear these influences in her phrasing, rich

tone and sassiness.

At 17 years of age, Ruth fell for trumpeter

Jimmy Brown. She ran away from home, married

Brown, and focussed on making a name for

herself as a performer. “As it turned out, he was

already married!” Ruth Brown told People Magazine

in 1989; “I’m laughin’ now, but it wasn’t

funny then.” Although her relationship with

Jimmy didn’t last, she kept his surname.

In 1946, Ruth Brown was singing in Detroit

when Big Band Leader, Lucky Millinder, recruited

her. She spent a month performing with his

orchestra before he let her go:

“I had been fired by Lucky Millinder” Brown told

Rolling Stone Magazine, “and I was stranded in

Washington, D.C., without the price of a ticket to

get back to Virginia. But because I was in a business

that my daddy didn’t want me in, I couldn’t

call home.”

Fortunately, in D.C she met Blanche Calloway,

Cab Calloway’s sister, who became Brown’s

Manager.

“Blanche became like my second mother,” said

Brown. “I used to wear all kinds of feathers in my

hair, and gloves, and bracelets over the gloves.

Blanche got at me about too much jewellery. She

told me to wear just one little strand of pearls.”

Brown also had to find her own vocal style to

10


PHENOMENAL

BLUES WOMEN

find success. She had grown up imitating her

hero Billie Holiday, until one night Lady Day

herself came to watch Brown’s show. After the

performance, Holiday came backstage and told

Brown, “If you copy me, nobody will ever copy

you”, and so, Ruth Brown adapted her sound and

found her own distinctive voice.

Whilst performing at the Crystal Caverns club,

Jazz DJ, Willis Conover, heard Brown and

recommended her to his friends at Atlantic Records.

On her way to New York City to audition

for Atlantic, Brown was seriously injured in a car

crash that left her hospitalised for almost a year.

Her legs had been crushed and the accident

left her in pain for the rest of her life. Atlantic

Records, paid her hospital fees.

“I was in the hospital for a year. I’ll never forget

that: On my twenty-first birthday, Ahmet (Ahmet

Ertegun, Co-founder of Atlantic Records)

came down to Chester to see me in that hospital.

And he brought me a book on how to sight-read,

a pitch pipe and a big tablet to write on, because

I had a knack for writing lyrics.”

She signed her contract with Atlantic from her

hospital bed and finally, in 1949, was able to

make it to the studio to record her first session

for the label. With determination, Ruth Brown

stood on her crutches and sang the bluesy ballad

‘So Long,’ which became her first hit.

Brown had a passion for singing ballads but

Ahmet encouraged her to bring more up-tempo

tunes into her repertoire. Brown proved she

could sing both styles with great charisma and

feel. In 1950, ‘Teardrops from my eyes’ became

Brown’s first upbeat hit. The tune was Billboard

R&B No.1 for eleven weeks, earning her

the nickname “Miss Rhythm”; soon after she

became the acknowledged ‘Queen of Rhythm

and Blues.’

“Teardrops went to the top of the charts and

stayed some twenty weeks up there. That song

moved Atlantic up as a record company,” said

Ruth Brown.

Throughout the early 50’s, Ruth Brown continued

to have hit after hit with songs including I’ll

Wait for You, I Know, 5-10-15 Hours, (Mama)

He Treats Your Daughter Mean, Mambo Baby,

and Don’t Deceive Me. Between 1949 and 1955,

her records stayed on the R&B chart for 149

weeks, which included five No.1’s. The string of

hits gave Atlantic Records the nickname ‘The

house that Ruth built’ and raised the profile of

the label.

One of my favourite Ruth Brown tracks is Mama,

he treats your daughter mean – her voice just

has so much personality. Little Richard credits

Brown as a major influence on his rock’n’roll

vocal style. He once said, “this thing you hear me

do – “Lucille-uh” – I got that from Ruth Brown.

I used to like die way she’d sing, “Mama-uh, he

treats your daughter mean!”

Brown, like all black artists touring in the 1950s,

endured racial discrimination. In her 1996

autobiography, “Miss Rhythm,” she remembered

boldly desegregating a Mississippi gas

station bathroom. Her tour bus, also carrying

singer Charles Brown and the vocal group The

Fleetwoods, stopped to use the restroom and

they soon found themselves surrounded by local

police.“We thought they might lynch us,” she

would later recall.

In an interview with Rolling Stone Magazine,

Brown described the segregated music venues

on the1950’s:

“The concerts would be, downstairs where the

dancers were, jam-packed black. Upstairs balcony,

all the way around, white spectators. Then

a lot of times when the building didn’t allow for

that, if you had a warehouse or something like

that, where there wasn’t two layers, they had

a dividing line on the floor. That was the rope;

sometimes it was just a clothesline with a sign

hung on one side to separate them.

Or there would be some big, burly white cops

standing on one side to make sure that the rope

stayed in position, which a lot of times it didn’t,


PHENOMENAL

BLUES WOMEN

because people got to go dancing, and they

didn’t give a damn about the rope.”

People of all colours loved Brown’s music; her

music brought people together.

She found her songs were covered by white artists

including Patti Page, Tony Bennett and Georgia

Gibbs. Brown would explain, “Well, some

people might have thought it was flattering. But

for me, it didn’t do a damn thing except stop me

from getting on the top TV shows. I never got to

do The Ed Sullivan Show. Patti Page did. Georgia

Gibbs did.”

In 1957, Ruth’s song ‘Lucky Lips’, composed by

Leiber and Stoller (the writing duo who penned

Hound Dog), made it into the Pop Chart’s Top

40. It was an achievement that left her frustrated:

“This was the only song that got me on the

Dick Clark show. So, I did American Bandstand

- big deal! Because of “Lucky Lips!” What about

all the other ones I had? I felt kind of ridiculous

singing, “When I was just a little girl, with long

and silky curls.” Never had no long and silky curls

in all my life.”

Despite her astounding success with Atlantic

Records, by 1967 Ruth Brown was broke and

quite literally down on her knees, scrubbing

floors to support her two sons. “Ruth the singer

disappeared,” said Brown, who stopped receiving

her royalties from Atlantic label in 1963. “I

did a lot of things to survive. All I wanted was to

feed my kids and keep the lights on.”

She told an interviewer the struggle she faced

when the royalties dried up:

“I became a domestic, I drove a school bus, I took

care of the elderly, I worked as a counsellor in

drug abuse. I worked in Headstart, I worked in

kindergarten with the children. I did whatever

was necessary to maintain a livelihood for

myself and my two children. I did it with dignity

then, and I am not ashamed of it now.”

In 1976, when her children were through

college, Brown re-launched her performing

career, this time in TV, film, and stage. She soon

had a regular role in the sitcom ‘Hello Larry’ as

the neighbour, Leona Wilson, and she starred

as Motormouth Maybelle Stubbs, a friendly and

strong-willed record promoter in the cult classic

film ‘Hairspray.’ On Broadway, she starred in

productions of ‘Amen Corner’ and ‘Black and

Blue,’ earning her a Tony Award for Best Actress

in a Musical in 1989.

In the 1970’s Ruth realised her records were

being re-released internationally. She called

upon three lawyers to contact Atlantic about her

missing royalties, but Atlantic insisted that Ruth

owed them money: “Ruth Brown’s account is so

far in arrears that she owes us so many thousands

of dollars’. Each attorney would come back

and say the same thing: ‘Don’t bother with this!’

Finally, in 1983, she got talking to a lifelong

Ruth Brown fan called Howell Begle who just

happened to be an attorney:

“A friend introduced me to a man named Howell

Begle. He said he was a great fan of mine. He

first saw me when he was 11 years old and he

had all my records. I told him I wasn’t getting a

dime out of this. He said, ‘You can’t be serious.’

I assured him I was, and that I hadn’t received

royalty checks since 1960. He gave me his card,

and it wasn’t until then that I realised he was an

attorney.”

Begle was keen to help. He brought Brown to

Washington to stand in front of the Senate

Investigative Committee, and finally after 28

years, she received a royalty check from Atlantic.

She also introduced Begle to her musician

friends including Sam and Dave, and Joe Turner.

Thanks to Begle and Brown’s efforts, the royalty

status of many other Rhythm and Blues veterans

were re- examined.

“Joe Turner’s was a very sad case.” Ruth explained,

“Howell arranged for an episode about

this whole royalty business to be shown on CBS,

which Joe and I were on. Joe was very, very ill, on

12


PHENOMENAL

BLUES WOMEN

dialysis treatments, and it was heart wrenching

to hear him say, ‘I don’t want to work, I don’t feel

like it, but I have to.’ Atlantic even billed both

Joe and me for the mastering and re-editing of

a R&B; blues album in 1985, though it was 25

years since we’d recorded for them.”

When Howell Begle brought the situation to

the attention of Ahmet Ertegun at Atlantic, he

apologised and had the bill cancelled. Joe Turner

passed away soon after and Ertegun paid the

funeral expenses.

As Begle continued to investigate Atlantic’s

bookkeeping practices, it became very clear that

the artist’s negative balances had to be recalculated.

“They said I had an outstanding debt

to them of some $30,000,” Brown explained,

“but Howell found this was incorrect, and my

first check, after all the deductions, a couple of

months ago, was for $21,000.” This figure was

based purely on the post -1970 re issues as

prior to that the old accounts were incomplete

and impossible to trace. Atlantic was forced to

rethink the fairness of their contracts and to pay

out the royalties their artists deserved.

In autumn 1987, Ertegun showed up backstage

at a theatre where Brown was performing. They

stood face-to-face for the first time in 10 years.

Brown said in an interview, “we stood speechless

for a couple of minutes. He said, ‘I want you

to know that I love you and everything is going

to be all right. I would never do anything to hurt

you.’ Brown explained how initially “I did feel

anger, but I don’t now.” She embraced him and

the two made peace.

The following year, Ruth Brown established

The Rhythm and Blues Foundation to provide

financial support, medical assistance and educational

outreach supporting R&B and Motown

artists from the 1940s through the 1970s. When

explaining the importance of the foundation, she

spoke of R&B great Jackie Wilson, a “very dear

friend” who died in poverty in 1984:

“They had a fund to raise money for a tombstone,”

Brown would voice with tears in her eyes.

“Why should people have to beg to pay for a

tombstone? Why couldn’t his record company

pay for it?”

She hoped that in future, musicians who had

been treated that way would turn to the Rhythm

and Blues Foundation for support. The Foundation

was awarded a grant of almost $2 million by

Atlantic.

Throughout the 1980’s Ruth Brown’s popularity

escalated once more. She was nominated for

six Grammy awards, winning Best Female Jazz

Vocal performance in 1989. In the 1990’s Brown

toured with Bonnie Raitt and was featured on

Raitt’s ‘Road Tested’ album. Brown was nominated

for another Grammy in the Traditional

Blues category for her 1997 album, R + B = Ruth

Brown. Maybe, like myself, some of you saw her

perform at Bishopstock in Exeter, UK, in 2000.

Brown continued to tour until she passed away

following a heart attack and a stroke in 2007.

She was 78 years old.

“She was one of the original divas,” Bonnie Raitt

spoke after Brown’s death; “I can’t really say that

I’ve heard anyone that sounds like Ruth, before

or after. She was a combination of sass and

innocence, and she was extremely funky. She

could really put it right on the beat, and the tone

of her voice was just mighty. And she had a great

heart.” “What I loved about her,” Raitt added,

“was her combination of vulnerability and resilience

and fighting spirit. It was not arrogance,

but she was just really not going to lay down and

roll over for anyone.”

As a blues artist myself, I find Ruth Brown

incredibly inspiring; not just

as a sensational

singer but also

as a wonderful

human being. She

stood up for what

she believed in and

made the industry

a fairer and better

place for us all.


PETER GREEN

WHEN GIANT’S PASS

WORDS: Iain Patience

I guess every blues lover was deeply

saddened and shocked by the death of

the truly great guitarist, Peter Green,

on July 25, aged just 73. Green, a founder-member

of legendary band, Fleetwood

Mac – when they truly were a blues band

extraordinaire – set the bar for tasteful,

soulful, inspired picking for almost everyone

that came behind him.

PICTURES: As Credited

Green was a genuine global blues icon

and the expression, ‘we won’t see his type

again’ has a startling resonance and truth

about it.

When the sad news hit the wires, here at

Blues Matters there was a shocked silence

followed by the thought that maybe the

man who gave Green his first real breakthrough

as a professional musician will

have something to say. So, I asked another

hugely influential, legendary UK bluesman

with a global following and appeal for his

initial thoughts. John Mayall was the first

man to recognise the talent that Peter

Green was, drawing him in to join the

Bluesbreakers back in 1965/66 following

the departure of Eric Clapton from the

band.

Green went on to record with Mayall’s

band and the 1967 release, ‘A Hard Road’

is viewed by many as one of the finest

blues releases out there. John was clearly

deeply saddened by Peter’s passing and

though he has been laid-low recently with

Covid and further minor health issues, he

confirmed :

“I feel so very fortunate to have not only

had Peter in my band, but for sharing a

musical life together whilst he was a fiery

presence in the Bluesbreakers.

It is sad to have lost someone so special

and I will always remember the great times

Image by Marco Van Rooijen

14 BLUES MATTERS! ISSUE 116 Our name says it all!

PETER GREEN | FEATURE

we shared together.”

Peter Green was a genuinely inspiring and

inspired character, despite his brushes

with mental health issues, he never fully

slipped from musical view or consciousness.

Instead, largely due to his early work

with John Mayall and Fleetwood Mac, he

remained a towering figure with a huge

following worldwide. Few, in any, are ever

likely to match his guitar genius and that

instantly identifiable sound and soul he

captured when picking a guitar. And, even

rarer in many ways, he had a talent that

moved seamlessly from electric to acoustic

instrumentation. As a song-writer, too, he

excelled, creating the standard in so many

ways with his Fleetwood Mac work and

still hugely significant songs such as ‘Black

Magic Woman,’ ‘Albatross’ and ‘Oh Well.’

A strong personal favourite, ‘Black Magic

Woman,’ also became a near-anthem

and a huge global hit for US-Mexican

picker, Carlos Santana, who had this to

say about Green the musician he met,

knew and loved:

“Dearest MR Peter Green. We know

you, B B King and Otis Rush are sharing

living tales of wonderment. I cherish and

treasure all the time we spent together

(especially the time you invited me to be

with you and your dearest mother, love the

stuffed bell peppers she cooked)

A Hard Road, you with John Mayall &

the Blues Breakers. Yes Supernatural,

just sacred.

I love you and I’ll see you, Hendrix, SRV, Albert,

Freddie, BB. all the Kings, yes, Albert

Collins mmmm mmm; John Lee Hooker.

Say hello to Coltrane, Miles, Jaco, see you

in eternity hall. Peace.”

Looking back over a career that always

seemed to sparkle with glorious genius,

it’s hard not to turn to his importance in

founding one of the greatest blues bands

ever, Fleetwood Mac. Still going strong

over half a century later, albeit with

hugely different output and personnel

(save, of course, drummer and co-founder,

Mick Fleetwood) this was a band that

really made its mark, putting a distinctive

stamp on everything it worked back in

the blues days.

Now known as a performer of note

himself, legendary blues music producer

and founder of Blue Horizon records,

Mike Vernon and brother, Richard,

recalls with evident affection, admiration

and tristesse his own initial involvement

with Peter Green:

“In life you will meet countless people but

very few make the lasting impression that

Peter Green made on us - both musically

and personally. A man with so much talent

and so little ego. We owe him greatly for

allowing us to establish and build our own

record company Blue Horizon around him


FEATURE | PETER GREEN

and his band Fleetwood Mac and also in

helping us to find new acts to record and

in so doing to assist in the expansion of the

Blue Horizon ‘family’. For in many ways

Blue Horizon was a true family - everyone

involved being encouraged to help each

other in their musical endeavours. In this

way did we sign Tony ‘Duster’ Bennett and

Gordon Smith. We also contracted Chicagoans

Eddie Boyd and Otis Spann - both

would record albums with Fleetwood Mac.

Champion Jack Dupree recorded albums

with Mick Taylor - at that time with John

Mayall; Stan Webb of Chicken Shack and

Black Cat Bones - whose line-up included

Paul Kossoff and Simon Kirke. It was our

joint enthusiasm that pushed us forward

and Peter was always there with words

of encouragement - it was all about the

‘family’ and not the individual.

When ‘Black Magic Woman’ hit the

National Charts in 1967 there was much

excitement in the ranks - an original Green

song that would later become a smash hit

in the U.S. when covered by Santana. Then

came ‘Need Your Love So Bad,’ originally

recorded by Little Willie John - followed,

somewhat surprisingly, by the instrumental

‘Albatross’ which reached the #1 spot

on the U.K. Charts during early 1969.

Sadly, we were to lose control of the band’s

recording commitments at the very time

when we were already working on ‘Man

Of The World’ as a follow-up to ‘Albatross.’

The departure of Peter, Jeremy, Danny,

John and Mick proved to be a blow for the

label. But life must go on and so it was -

more of a struggle and very challenging

but not so rewarding! We watched with interest

to see how Fleetwood Mac’s career

would develop without our help.

The sad departure of Peter Green from

this ‘mortal coil’ brings back so many

memories. His laidback approach to life in

general; his wickedly dry sense of humour;

his constantly friendly attitude to all and

sundry were there clearly to be seen. His

talent as a guitarist, harmonicist, vocalist

and songwriter was extraordinary and totally

unique. Peter’s deft touch and feel for

the Blues was, in our opinion, near to being

faultless as could be imagined - evidence

the Eddie Boyd and Otis Spann sessions in

particular. He knew exactly when and what

to play and he never overplayed - that

was close to a sin in his mind! His vocal

prowess was also ‘right on the money’ in a

relaxed manner and yet sometimes pushed

with an urgency that would surprise the

listener. He spent a lot of time working on

his phrasing and staying in tune - not that

either ever seemed to be a problem for

him. He was, after all, a Bluesman - plain

and simple. But both Richard and I fell in

love with his song writing abilities – ‘Man

Of The World’ and ‘Oh Well’ in particular

being forever firm favourites. Humility and

his inner self combined with, perhaps, a

sadness of heart brought out the very best

in him - both those songs are treasures.

Neither of us had seen or spoken with

Peter for well over twenty years - that

might be seen as a serious misdemeanor by

some but often in life our individual paths

are not planned as to cross each other.

Nevertheless, those close-to-three years

- back in the late 1960s - that we all spent

together working on making music will

remain in our memory for the rest of our

lives. ‘Thank you’ Peter for being you. R.I.P.”

And now, as we mourn the passing of

a home-grown, blues music giant, it’s

perhaps fitting that we turn to his final

years and work with Splinter Group.

Our CD Reviews Editor, Stephen Harrison,

brings us up to date with a striking and

fortunate memory:

16


PETER GREEN | FEATURE

PETER GREEN & THE SPLINTER GROUP

The Splinter Group was formed in 1997

in what could also be termed an intervention.

Nigel Watson and Cozy Powell

had the idea that bringing Peter Green

back into the musical world would help

him overcome his depression that he had

been suffering for almost two decades.

Part of that depression was brought on by

overindulging on LSD in 1969 when Green

was in Fleetwood Mac.

He had sporadically appeared in different

guises in a couple of bands but these did

not become fruitful or fulfilling. Alongside

Peter Green, Nigel Watson, and Cozy

Powell, there were a few more people who

would begin the foundation of The Splinter

Group. The famous Greeny Guitar (The

1959 Gibson Les Paul ) had since been

sold to fellow blues artist, Gary Moore.

Ironically, the Gibson Les Paul that Green

purchased for £ 114 now lies in the hands

of Kirk Hammett of Metalica fame. He

reportedly paid $ 2 Million for it. During

the 90s Peter Green played a Fender Stratocaster

and a Gibson Howard Roberts Fusion

model. The first album to be released

was simply titled, Peter Green Splinter

Group, and was released in 1997. The band

toured England, Europe, and America to

great acclaim and somewhat moderate

success. I, myself was lucky enough to see

The Splinter Group live in 1996. The venue

was The Wheatsheaf in Stoke – On – Trent.

A wonderful small music venue that sadly

fell into the hands of the Wetherspoons

chain many years ago. It was Sept.24th.

A night that I will never forget. To watch

Peter Green take to the small stage in this

small venue was something that I never

dreamed would happen. There had been

rumours that Peter Green would not play

blues because of the delicate balance of

his mind, something that I found hard to

believe. It was complete rubbish because

the whole night was a blues bonanza.

This was before the first album had been

released, so in a way, I think they were

testing the waters and seeing how the

audiences would react to Peter Green

becoming a bonafide blues artist once

more. The whole gig was almost like being

in a religious experience. For a blues fan

such as myself, this was the perfect gig

to attend. And to make the evening end

perfectly, Peter Green played a stunning

version of Albatross. From that moment

I was hooked on The Splinter Group but

unfortunately, it would be the only time

that I would see them perform live. My two

personal favourite Splinter Group albums

are The Robert Johnson Songbook and

Hot Foot Powder. This partly because

Robert Johnson is the best and most

influential blues artist of all time in my

opinion. It also happens to be where Peter

Green felt at home. Playing the blues with

The Splinter Group.

THE SPLINTER GROUP:

• Peter Green - Lead Guitar/

Slide Guitar/Harmonic/Vocals

• Nigel Watson - Rhythm Guitar/Vocals

• Cozy Powell - Drums

• Roger Cotton - Piano

• Larry Tlofree - Drums

• Pete Stroud - Fretless Bass

• Neil Murray - Bass


RADIATING THE 88s

Getting low-down

with Ethan Leinwand

www.facebook.com/groups/radiatingthe88s

www.dompipkin.co.uk www.ethanleinwand.com

I came across American pianist Ethan

Leinwand in stages, as is sometimes the

case. I had picked up on his name through

the internet, semi-consciously perhaps,

and then more directly when he made a

comment on a photo on Facebook.

“Hey that’s me!” he said. A view of him

form behind had been used for a regular

piano event I was playing - The Sweet

Sounds of New Orleans – which had

built into it the possibility of another

player stepping in to “deputise” when I

couldn’t make it. The usefulness of the

photo had been that it showed no-ones

face, yet could have been me. Anyhow,

our exchange over it was all very good

natured and full of laughs, which I now

realise is a characteristic of this musician

I now call a friend.

I then heard Ethan do his thing at the UK

18


PIANO BLUES | RADIATING THE 88s

Boogie Woogie Festival in 2018 – some

of it solo, and some of it with his life and

musical partner, Miss Jubilee (Valerie

Kirchhoff) with whom he plays in the bands

the St Louis Steady Grinders, and Miss

Jubilee and the Yas Yas Boys. Leinwand’s

musical journey has been to delve further

back into the development of the piano

style we call boogie-woogie and see what it

originally grew out of. This style is known

as barrelhouse piano, a subject I covered

in my very first piece for this magazine.

Many years ago Errol Linton used to make

me much cherished cassettes if this stuff

– old solo blues piano that has echoes of

that lonely delta guitar sound. Song titles

so often seem to have the word grinder or

cow in them, and the tempos vary from the

stately Vicksburg Blues to the wildly optimistic

Texas Shout. This was piano blues

in its formation, direct from the lowdown

whisky–soaked barrelhouses, mostly for

dancing, and had little regard for whether

it was jazz, boogie or blues. It was all of

these. Much though I love the drive and

sparkle of boogie-woogie, its dominance

can sometimes be said to have brushed

aside this rich and rewarding prehistory

that bears so much joyous listening.

Leinwand’s own website makes reference

to him as a preservationist, and this is very

much in evidence listening to his 2015 release

The Low-Down Piano. On this record

he absolutely inhabits this barrelhouse collection

of the music of Little Brother Montgomery,

Jimmy Yancey, Henry Brown, Robert

Shaw, Romeo Nelson, Jabo Williams,

Montana Taylor and others. I asked him

how he arrived at this approach and get to

hear some of his back story. After taking

childhood lessons from the age of eight, he

tells me he never remembered not wanting

to play the piano. The lessons continued

from 3rd to 8th grade, and by the time he

was in middle school he was writing music,

had quit his lessons, and had started seeing

music as his own thing, something to be

developed as an artistic vision. What kind

of music were you writing at the time? I

ask, and I’m somewhat surprised by the answer

- “it’s the same as I’ve always loved. I

always wanted and I still want to be a film

composer. “ Leinwand describes this sound

as minimalistic, cinematic lyrical music, and

then cites as a great favourite the composer

Schubert. I’m immediately fascinated.

It turns out that we both love his work and

we talk about which of his Impromptus we

like or we play. As a 15 year old I battled

my way through the rather foreboding C

minor with its stark melody that dissolves

into absolute tenderness . It turns out that

Ethan is playing this very piece the next

day on his live stream.

To me this classical connection makes

complete sense, as it clearly does to

Leinwand. James Booker loved Chopin,

with his romantic lyricism; the music of

Schubert is frequently folky, dance-like,

with repeated refrains that echo some

of the blues spirit, plus low growling rolls

and ruffs that are only a displaced beat

away from early ragtime. This confluence

of a lyrical classical tradition, especially

from a more minimalist composer such as

Schubert is less bizarre than it may at first

seem. If one is investigating and uncovering

the roots of blues piano, the piano

traditions that were gate-crashed by the

arrival of African syncopation are just as

worthy of consideration as is the syncopation

itself. Let’s head back to Leinwand’s

musical development again. A life choice

to locate temporarily to New Orleans

around 2007, while teaching music to kids,

exposed Leinwand to Professor Longhair


RADIATING THE 88s | PIANO BLUES

and Booker, and in his own words left him

wanting to play ‘only the blues’ at this

time. Upon his relocation to Brooklyn, he

definitively discovered boogie-woogie,

and started playing professionally, with a

nightly residency at a friends bar in this

trendy area, where he describes learning

songs and developing as musician by day,

playing it out to audiences by night. I ask

him who his favourite of the boogie players

was at the time. ‘Yancey, for sure,’ comes

the answer. Jimmy Yancey’s take on the

style has more space, a more lyrical and

“We all need

to play live,

we agree”

textually nuanced approach, more daring

improvisation one might say, and by and

large a more varied, lilting approach to

the beat. Leinward explains that he never

wanted to be flashy, but rather to play with

all the intention and poetry he discovered

in Yancey’s sound, and by playing the piano

he could make a complete statement as

a self-contained musician, chasing that

same poetry. He mentions some boogie

players creating solos ‘out of thin air’ and

how he never wants to be that player. He’s

seeking the melodic grit that he finds both

in Yancey and Schubert, and “’n the blues

too’ which for Leinwand should always be

a storytelling musical genre.

He was reluctant to take on board the

stride styles that were so prevalent in the

New York classic jazz scene at the time

he was developing, but then goes on to

add that to do so became inevitable as

he explored the music of Little Brother

Montgomery and others. Stride and

ragtime were slowly added to his musical

language. This was also what led him to

follow his heart to the music that spoke to

him the most. The stride that captivated

Leinwand was not so much that of Harlem

but rather of St Louis, MO, where the style

continued to be closer to blues than jazz.

Before he knew it, Leinwand had settled

in this famous musical city, out of which

he operates to this day, playing both on

the local scene and touring nationally and

internationally.

‘How has isolation been for you Ethan?’ I

ask. We all need to play live, we agree,

but he talks to me of freedom to practice,

to return to his composing dreams – it’s

generally a positive view. The other half of

his side project, The Bottlesnakes, guitarist

Nick Pence lives upstairs from him, so

with Valerie at home and Nick upstairs he

is able to pursue a great deal of musical

work, just without the travel and face to

face contact with audiences. Do catch

up with his live streaming shows from his

Facebook page.

I ask Ethan if he feels a duty to be authentic

with the barrelhouse style. As he

answers it becomes clear that his authenticity

simply ‘is,’ given how deeply he has

studied and absorbed the genre. Back in

the day he would passionately declaim that

he was playing the music of Missouri resident

Henry Brown to those Brooklyn audiences,

probably before realising that this

level of knowledge was somewhat unique

and that no-one would know what he was

talking about. Discussing his approach, he

20


PIANO BLUES | RADIATING THE 88s

says he aims to play with the spirit of the

original players, rather than recreating all

the notes. I personally feel he absolutely

achieves this. A player is in my view

incomplete if they don’t bring something to

the art form, something of themselves, and

Leinwand agrees, but tells me he places a

deliberate time cap on the modernity of

licks he employs. He disallows the stylings

of Otis Spann (who he admits to loving)

to enter his solos but permits a little

Professor Longhair in as it seems to grow

out of that Jimmy Yancey approach. When

I listen to Leinwand, I hear a deep groove,

a thorough knowledge and complete

intention in every note. There are recent

records out from the Bottlesnakes (2019)

and the Yas Yas boys (February 2020, just

before lockdown), and he’s dreaming of a

new solo record. Ethan Leinwand is a player

to take note of – entirely gimmick-free

and a man who feels his influences deeply,

maintaining a tradition that could so easily

be lost, and electrifying the piano whenever

he sits down to play.

ETHAN LEINWAND’S

TOP 5

BARRELHOUSE

PIANO CHOICES:

1. THE VICKSBURG BLUES

by Little Brother Montgomery

2. THE SUITCASE BLUES

by Hersal Thomas

3. THE MA GRINDER

by Robert Shaw

4. PRATT CITY BLUES

by Jabo Williams

5. THE DAVIS STREET BLUES

by Sugar Underwood


FEATURE | KIM SIMMONDS

THE

NEWBRIDGE

CAPTAIN OF

BLUES-ROCK

WORDS: UK Bob

PICTURES: Arnie Goodman

22


KIM SIMMONDS | FEATURE

If you were to notice Kim in an afternoon

tea shop, the last thing you would imagine

from the soft-spoken Welshman is that he

is a Bluesman with a 55-year history!

Forever youthful in his outlook and

appearance, (annoying bugger), it defies

explanation that he has led the legendary

British Blues band SAVOY BROWN

since 1965 yet also explains why they

are so unique.

A bandleader has an enormous task but

having both Kim’s nature and talents

bolted together offers a rare presence

that’s hard to argue with, especially when

crafting that signature British Blues stamp

which has indelibly defined them, separating

them from the masses in American

music culture.

Chris Barber said to me last year that

playing trombone in skiffle, ragtime, blues

bands since the 50’s was easy, even at 90

yrs old, but being a bandleader was a cat

herding nightmare. Kim Simmonds has

been a huge catalyst for talent, with Savoy

Brown as his vehicle, same as John Mayall

and the Bluesbreakers, yielding some 60

proper blues musicians like ‘Lonesome’

Dave Peverett and Chris Youlden but all

the while maintaining that British Blues

rock brand.

In 2020 nothing has changed for their

41st album aptly titled AINT DONE YET

from what is a now a trio, which has gelled

nearly ten years, and with that rhythm

section stability, comes understanding

you can feel, as they deliver and embellish

Kim’s writing the Savoy Brown way. What

has sadly changed is that this 8th album

with Showplace Studios is the last project

the owner Ben Elliot completed before

he died. The output from Ben for me was

significant in that the quality was top notch

from production to understanding the

music, even the packaging was better than

everyone else and he made magic with acts

from Clapton to Sumlin, from Les West to

Pretty Purdie. A true giant in Blues studio

business and such a super guy too. RIP.

That is not to say it has always been a

breeze, as Kim will tell you, there were

periods in the Eighties after the Seventies

‘hit’ albums, where he may have struggled

and lost the thread but he didn’t allow depression,

and he would cleanse his musical

thoughts, reasserting his mind for a few

days when inspiration would then return.

Like football players, the mental part of the

game is as essential as your natural talent

so stability and a big sign that says DON’T

PANIC! are his tools of the trade, along

with redirecting himself to painting, as a

soothing escape like many players do for

example Ronnie Wood & Errol Linton. You

can see a result in the cover of his 2008

solo album ‘Out of the Blue’. I recently referred

to him in an interview as ‘The Blues

Therapist’ which he laughed at but you

know, if he starts helping others get their

groove, he could easily become the first

‘Guitar Whisperer’!

Starting out with gigs in the mid-Sixties

was hard work but sometimes chance and

karma play a big part as they did here when

18 year old Kim was sheltering from the

rain one Saturday morning in the doorway

of Transat Import Records store in

Soho where he met John O’Leary, equally

avoiding the weather, and discovered

they lived only streets from each other in

Wandsworth and Savoy Brown was born.

In nearby Battersea, next to a candle factory

stood the Victorian pub The Nag’s Head

where they persuaded the landlord to let

them rehearse in the upstairs room, also

used by a secret society ‘The Grand Order



of Water Buffalos, and a folk club. While

rehearsing they had the company of the

likes of legendary Jo Ann Kelly, Dave Kelly

and other future Blues luminaries.

Wednesday nights at The Nag’s Head

became the club ‘Kilroys’ and they started

getting audiences while Kim’s brother,

Harry, managed them and the bookings,

plus press, when one night Mike Vernon

caught the show, produced recordings for

them in August 1966 and eventually took

over the club renaming it The Blue Horizon

hence the now famous label that grew

from that.

Savoy Brown will always boogie in their

sets and their albums if only for one piece

of history around this time. They played

a show with the great Champion Jack

Dupree, a New Orleans barrelhouse piano

king who married a Yorkshire gal and settled

there. He told the band “if you’re not

sure where we are going just boogie-woogie

for me because as long as you can do

that you will always have a job!”. Coming

from the boxing world (hence the champ

nickname), he always had an eye on the

next fight, the next $$$, an important focus

that translated to any profession.

Savoy Brown were now ‘connected’ and

fortunately had some significant acts

open for and play with them like Cream at

Klooks Kleek, where Eric Clapton watched

Kim in awe from the sidelines and has been

noted as saying “how do I follow that?”

and then accompanying John Lee Hooker

on a full UK tour. The Stones put Hooker

on national TV! This was a huge pedestal

moment while Savoy Brown gigs at the

Marquee would have Alvin Lee’s Ten Years

After open for them, as would Jethro Tull,

so they now led the Blues Rock movement!

They led it to America because by 1969

24



Metal / Heavy Rock via Black Sabbath and

other such bands was the growing new UK

fad and what Savoy Brown did was bring

the blues back to America in the Seventies

after the UK rescued it in the mid 50s. The

USA had turned its back on all the black

legends of Delta and Chicago blues who

couldn’t earn a living, while in UK/Europe

they were welcomed with open arms

and wallets plus a red carpet! They were

treated like the royalty they were and Kim

Simmonds helped America realise what

they had forsaken.

Their subsequent USA rise in popularity

was great timing, plus as Kim’s quality,

original, solos are always the centerpiece

of Savoy Brown, it was greeted warmly

by all the guitar lovers and aficionados

alike, who recognized British Blues-Rock

was different with its hard rocking edge.

Kim Simmonds creativity is in the organic

range of styles, genres and axes where he

really digs deep into the earth to find new

expressions that step outside the predictable

or customary borders.

Considering Kim grew up on brother

Harry’s blues vinyl collection of American

Pioneers plus recordings brought round to

the house by the likes of Brian Jones, Mick

Fleetwood and others. Hence the new USA

base seemed a logical step and he admits

it was the pure honesty in the music that

attracted him without any pop nonsense.

He described it as relatively simple music,

but with great art to it.

They never had a song in the pop charts or

a top 20 album either side of the Atlantic,

yet they hold a unique place on the Blues

Rock mantle as in the seven years from

1967 -1974 they released a dozen significant

albums with a holistic blues approach

weaving through a percolating mix of



boogie, jazz, rock, R’n’B. If you went to a

Savoy Brown show you already knew the

menu, like you would your favourite restaurant,

they just would add new flavours

each time.

Readers under 45 maybe won’t have experienced

this and the elders will be chanting

“Bloody Right” when I say that knowing

what was hot, who was good, who was

playing in town or coming on tour was all

about hanging with your tribe and being in

the record shops absorbing the direct aural

offerings around you. No internet, nothing

digital, you had to be in the moment and

share the buzzfeed coming down the lines

of contact through word of mouth and flyers

and the two music papers. Want to see

a show? Go queue in the rain at the venue’s

box office was the only way to get a ticket,

or pay an agency fee and hope they may

have one. Press and publicity could also

impact but was an investment with no

guarantee of return. If you were out of the

loop you literally were disconnected, so

the Savoy Brown gigs became heady gossip,

indeed exciting new entertainment.

Another part of the band’s success was,

in my opinion, also related to the type of

audiences they drew all over the world.

Based upon the content previously

described, a Savoy Brown fan knew how

to really listen and this was a major hook

because if they are that particular and that

discerning, then they will not only truly

appreciate the band and buy the merchandise,

they will not easily jump ship to support

other lesser musicians, and that my

friends produces a revenue stream with

stability and longevity. A working band’s

dream machine and a publicist’s mission.

Heavy USA cross-country touring, including

regular dates at the Filmores East &

West, would showcase a fresher more

melodic reach of the band’s new albums

of 1969 & 1970. The Blue Matter release

featured Tain To Nowhere which had four

muted trombones lying behind Kim Simmonds

solos while Chris Youlden’s vocal

nailed the lyrics. With half the album being

live tracks it emphasised their forte but

as Chris was missing from that gig due to

tonsilitis it allowed the musician to expand

and excel with Lonesome Dave Peverett

showing his pipes too. They hit the same

live/studio formula mix on the next album

‘A Step Further’ and this time Chris proved

a striking songwriter while the band was

complemented by a charging horn section

as they rattled into a fast and loose boogie

repertoire.

Now getting a lot of airplay and attention,

it was a brave move to switch the sound

to a tighter R’n’B style and as always

the members of the band continued to

26



change with it, yet Kim was always in a

good position to recruit great players.

As in the next shift which came from the

dismemberment of Chicken Shack bringing

him three great players including Dave

Walker. This collection’s debut album was

Street Corner Talking which was a slicker

streamlined production in 1971 giving him

his Gold album.

With another band shuffle Kim Simmonds

took over vocals from here on and he

knows he is maybe not as good as the

band’s predecessors but doesn’t mind the

roller coaster because of his guitar confidence

and being a ‘Blues Therapist’ allows

him to just keep going and going.

He is constantly motivated and never

wants to stand still when he can climb a

mountain, Welsh or American, because his

guitar always has something more to

say, something fresh to add to the Savoy

Brown menu.

In the decades that followed, he has

released scores of albums and toured

regularly, while maybe to smaller audiences.

He has not changed his devotion to

the Battersea Blues Blend he started and

has been living in Oswego, New York for

over 30 years. While the 2020 summer

national tour of the USA is postponed as is

their Winter tour of Europe he is confident

2021 will see them rescheduled. Meantime

they are beefing up their Social Media

presence plus working on a feature video

for the first time.

Having Joe Bonamassa as a huge fan in

2020 of the band, a tremendous 55-year

body of work few can claim, speaks for

itself. This most enduring of British Blues

Rock bands even has yet another album

finished and mentioned earlier, called Ain’t

Done Yet, still challenging our ears while

the band’s DNA still matches… just like you

hoped it would.

The Savoy Brown ‘brand‘ of British Blues

will always be en-vogue and outlive the

few that dare to try and imitate it. The

name was created to evoke quality as in

the Savoy Records label, and Brown as the

common earth, accessible by the man in

the street, and in doing so they bring home

the Battersea Bacon.

The Caerphilly Captain, like the cheese,

uses maturity to steep the flavour and a

tasty blues it is indeed!- Kim’s hometown

of Newbridge is near Caerphilly in South

Wales, UK

UKBOB

WRFG 89.3FM , ATLANTA

Interesting things not

common knowledge;

• When Savoy Brown took to touring

and left Kilroy’s Peter Green took his

early Fleetwood Mac to the legendary

venue to craft their trade.

• Fleetwood Mac first toured the USA as

support to Savoy Brown.

• ZZ Top first toured outside Texas

under Savoy Brown.

• Fans often say the Wishbone Ash were

the first twin lead guitar band BUT it

was Savoy Brown with Kim and Martin

Stone doing the honours.

• Of the many upcoming acts to play

at the Eel Pie Island Hotel the first

owner’s favourite act was The Savoy

Brown Blues Band, AS HE SAID “THEY

COULD BOOGIE ALL NIGHT”!


FEATURE | BLUES DOWN UNDER

MY LOCKDOWN

IN AUSTRALIA

BLUES

WORDS: Matty T. Wall PICTURES: T Clancy

Back in some previous issues, I wrote about

what you can do to help your local musicians

during these coronavirus lockdowns

and restrictions.

Basically, with no gigs or concerts, the live

music industry was effectively shut down.

Well, I want to share my own story with

you and how we are travelling through this

pandemic, and some hopes for the future.

So, obviously, it all started late February into

mid-March when all countries saw what was

happening in Italy, China and Korea. In Australia,

the response was swift. The national

borders were quickly shut down, and in

addition, some local interstate borders were

also closed down. The state in which I live

has the strongest interstate border closure

in Australia, which still remains closed to

this day, and may remain closed for many

more months, maybe into 2021. We have

had zero local transmission of coronavirus

in our state. We’re lucky in the fact that vast

deserts separate us from the eastern states,

over in Sydney and Melbourne, which,

being the busiest cities in Australia, and the

hardest states to close borders have been

dealing with local transmissions and growing

case numbers. But early on, we were

all in the same situation and had to quickly

follow government advice.

Social distancing became the new catch-cry

for dealing with this pandemic in Australia.

As we all know, you can’t social distance and

put on crowded concerts. Well, you can,

but it is difficult. As the social distancing

guidelines were instigated early on, I still

had a few more shows to play in the weeks

ahead. Most were cancelled under the new

rules, but one tentatively remained. It was a

fun gig, but very strange. Most people were

very aware of the invisible enemy that could

be lurking in the air and on surfaces, so the

room had the smell of fresh disinfectant and

air freshener, and the crowd was considerably

thinner than what we were used to. Not

very rock’n’roll. But that’s okay, at least we

could put on one last show before everyone

shut down.

It was literally one week later when all live

music venues, bars, clubs and restaurants

closed down for customers. No more music

industry. Dozens and dozens of my concerts

had to be cancelled, and in fact the biggest

opportunity of all for me – a tour with Walter

Trout, supporting him and playing alongside

him in his band had to be rescheduled

28


BLUES DOWN UNDER | FEATURE

www.bluesmatters.com ISSUE 116

29

FEATURE | BLUES DOWN UNDER

to 2021. I’m still looking forward to that

one, Walter! …hopefully I will have a few

stories to share about that when it happens.

In the meantime, the only way we could play

shows for our fans was through live streaming.

Although we did do some live stream

concerts and the demand for views was

immense, I did notice that getting the sound

and visuals to where I was happy was a mission.

Much respect to those out there that

are able to do this well, it ain’t easy. I know

there are plenty of live stream concerts still

happening out there, especially in the USA

in certain states and cities. It was a great

way to connect with people internationally,

a very different experience and brought us

closer to our new listeners.

So, fast forward a few months, and we

find that coronavirus cases have been

coming down, community transmission is

right down across the country. Therefore,

social distancing rules can be relaxed. The

hospitality industry in Australia breathes a

collective sigh of relief. Cafes can now seat a

small number of customers, restaurants can

partially open, bars can still partially open,

some clubs still closed. This gave us the first

opportunity to book some smaller shows

with seated crowds. The demand for tickets

is considerably greater than pre-covid.

There is a feeling in the air that everyone

just wants to get out again and get back to

normal. Small gigs in intimate venues started

to take place around the country and

the Australian blues music community was

starting to feel like everything was returning

to normal. And we played those shows.

They were mostly filled with many of our

biggest fans, so the response was incredible,

the feeling was amazing, and we all had a

great time playing and listening to music.

Then a second wave started to take hold in

Australia. They say that a second-wave is

inevitable with this virus, and that is exactly

what we have seen in our second most

populated city, Melbourne. The outbreak

was big and it was fast. Initially, some large

residential tower blocks had to be isolated,

but that did not work. It quickly spread

into greater Melbourne, which has now

instigated one of the toughest lockdowns in

Australia. Basically, no-one is allowed out

(well almost). I could say that this is really

the start of the pandemic in Australia, since

our first exposure was quite small and easy

to handle. This outbreak feels a lot like what

I saw my friends in the UK and Europe experience.

The tough lockdowns, the lost business,

the mental health issues with being in

lockdown. We are all seeing this play out in

Melbourne, and it has now spread to Sydney,

but is relatively under control there.

As I said before, Western Australia is very

isolated from the rest of Australia, by vast

distances and many deserts. On top of that,

our state leader is an ex-Naval officer. So,

actions are swift and effective, we are able

to keep free of this pandemic for now. But

the feeling in the community is that it will

bounce back here.

So, shows and concerts were beginning to

happen in Western Australia, things were

going well and we were due to move to less

restrictive social distancing guidelines. This

would have meant bigger concerts could

have happened. I had many tickets sold for

shows in anticipation of this relaxation of

restrictions taking place. Unfortunately,

the second wave has now occurred, so many

tickets had to be refunded, but we are still

able to play intimate shows here in Western

Australia. Last weekend, we were even able

to play a full-house pub gig, which was an

epic night, but may have to be wound back

30


again if there is another outbreak.

Walter Trout is booked to tour Australia

again for March 2021, gigs are booked for

me and the band through in to 2021, but

we just need to wait and see what happens.

If gigs are cancelled, so be it. If we get in

control of things and can release restrictions

to play to bigger crowds, that’s great. At the

moment, it really is just an obstacle course

of changing rules, some improvements,

some more freedom, some more outbreaks,

more restrictions. We’re just playing the

game now as everyone else is in the world.

Western Australia I believe is very much in

the same boat as New Zealand, who have

also had strong closed borders. Since there

has been no huge outbreaks in both New

Zealand and Western Australia, it will be

inevitable that it will someday come. Things

will be locked down again. Things will get

worse before they get better.

All we have until that time is our love of music,

some small shows here and there, and

our close-knit blues communities. Mental

health is really just as important as physical

health right now, and music almost certainly

is a positive thing for all our mental health.

So, I ask, if you can get out to an intimate

show and see your local musicians, please

do. You will feel better and the community

will be stronger as a result. Because, as

we know there will be second and maybe

third waves. We may all be in lockdown

again. Of course, when going out, follow all

the government advice in regards to social

distancing, washing hands, using masks etc.

And then maybe we can all return to normal

life soon. We hope.

Until then, keep listening to the blues and I’ll

talk to you next time. See ya!

www.bluesmatters.com

REMEMBERING

BOBBY PARKER

WORDS: Martin Newman

PICTURES: Supplied by Nick Ducket

Bobby Parker regarded himself

as one of the unluckiest

of artistes in music.

Some of the world`s most famous - Eric

Clapton, Carlos Santana, Jimmy Page, The

Beatles - all acknowledged a talent that

should have had him alongside their level

of achievement. Bobby, however, spent

most years of his life in poverty and hard

times. He could play blues because he lived

the blues.

Bobby Parker was born on August 31,

1937, and died on October 31, 2013, an

asthma attack preceding a heart attack.

His musical career started well including

the benefit of a musical family. His father

played Louisiana Zydeco music, his mother

was a gospel singer, and the family moved

from Louisiana to Los Angeles when he

was seven.

As a teenager, he quickly mastered acoustic

guitar. His father then bought him his

first electric at the Fender factory in Fullerton,

California. At that time, Fender was

just a small company and Bobby`s acquisition

looks to have come at the fortuitous

time when they had finally perfected the

design of the Telecaster.

His father`s work was servicing and

mending jukeboxes in Los Angeles clubs.

Sometimes he would take Bobby ‘Jnr’ with

him to help which led to seeing and hearing

artists like T-Bone Walker, Pee Wee Crayton

and Guitar Slim, often rehearsing for

their evening performances.

Some years later he could pass as old

enough to see the actual shows which

developed his first style influences. One

of Bobby`s first public appearances was at

Johnny Otis` club with a faithful reproduction

of Lowell Fulsom`s ‘Reconsider Baby,’

picking up stagecraft from T-Bone - the

need to look smart, dress sharply, and

throw in a few entertaining tricks.

Aged 18, Bobby was taken on by Bo

Diddley as replacement guitarist for the

increasingly in-demand Jody Williams.

He appeared with Bo at the New York

Apollo Theatre and there was at least one

Chess session which produced “Diddy Wah

Diddy” amongst the three titles recorded.

There’s a video record of their appearance

on the Ed Sullivan TV show with Bobby

playing the ‘hambone’ style rhythm that

Bo made famous. Although Bo had been

instructed by Ed to play ‘16 Tons,’ a popular

song by Tennessee Ernie Ford, Bo took the

opportunity to do his own ‘Bo Diddley.’ He

remembered, it made Ed Sullivan-one of

those cruel people - very angry, and he said

Bo would never work again in television.

Despite this, he turned out to be one of the

biggest blues and rock names of all time.

32


Pic: Mike Stephenson

FEATURE | BOBBY PARKER

A year later Bobby landed a job as a

guitarist and featured vocalist for the Paul

Williams Orchestra,

Paul ‘Hucklebuck’ Williams played baritone

sax and had had several ‘race’ hits, as

they were called in the `40s....most notably

‘The Hucklebuck’ which spent 14 weeks

at No. 1 in 1949. By the mid-50s he was

well-established as a writer, arranger, and

bandleader and was working with leading

labels including Savoy and Atlantic.

The PWO, often the house band at New

York`s Apollo, also provided the musical

backing for large package shows of

Rhythm & Blues stars, touring major cities

and playing their hits to segregated audiences

on what was known as ‘the Chitlin

Circuit’ down south.

In those times of Jim Crow segregation,

certain venues like tobacco warehouses

were granted special permission to allow

black entertainment. ‘Chitlin’ referred to

the soul food they served which was heavily

seasoned to disguise the less-desirable

parts of animal carcass used.

With Paul Williams able to provide

arrangements and play the charts, the

more experienced performers would bring,

Bobby found himself not only having his

own vocal spot but playing guitar behind

many R&B stars of the 50s; Jackie Wilson,

Sam Cooke, Etta James, Fats Domino, Joe

Turner, The Moonglows, The Drifters, etc..

To that list of names, Dion & The Belmonts,

Annette, and Frankie Avalon and other

white artistes can be added as the shows

became more integrated.

Bobby did several recording sessions with

the PWO and additionally, is to be heard

on items by erstwhile band members, Harry

Lewis, and Noble ‘Thin Man’ Watts.

Four songs were recorded in a session for

Josie label in August 1957. ‘Once upon a

time long ago last night / Suggie Duggie

Boogie Baby’ appeared on Josie 806 by

the Paul Williams Orchestra featuring

‘Bobby Parks’ as vocalist, not crediting

the startling guitar playing that Parker

contributed.

Unissued at the time, ‘Titanic,’ from this

session, after 60 years had recent status as

a ‘popcorn’ hit in Belgium.

The bands’ next record for Vee-Jay in

Chicago, in September 1957, gave Bobby

Parker solo credit on two songs he wrote

himself. ‘Blues Get Off My Shoulder/You

Got What It Takes’ – seems to have been a

small local hit. Both sides, since becoming

standards, attracting numerous covers.

Sixty years later, they’re still around!

Rising star Dee Clark with a somewhat

34


BOBBY PARKER | FEATURE

altered lyric was the next to do “Blues Get

off My Shoulder,’ while Robert Cray`s 2012

version sticks close to Bobby`s original.

‘You Got What it Takes’ was taken up 18

months later and made a worldwide hit

by Marv Johnson!! The Dave Clark 5 hit

with it in 1967, then Shawaddywaddy in

1977. Others include Marvin Gaye, Jimmy

Ruffin, Helen Shapiro, Anne Murray, not to

mention Mandy Rice-Davies!!

And here is where the problems with

Bobby`s experience of the music industry

begin, NOT a penny of royalty from any of

those subsequent versions ever went to

Bobby Parker!

Bobby: “I was busy with the band. We

weren`t so interested in the business angle

and we were just recording stuff for fun,

you know. Some people get ripped off in

the industry and I am one of them.”

“I wrote `You Got WhatIit Takes. Berry

Gordy just stole it out from under me - just

put his name on it and what could I do?

How was I going on trying to make a living

and fight Berry Gordy, big as he was, with

Motown Records There was really nothing

I could do.”

The song is forever credited to Berry

Gordy, Billy Davis and Gwen Gordy (the

latter being Billy`s girlfriend at the time).

How could it happen? Bobby said that he

never, ever met Gordy. He thought it might

have been down to Billy Davis. In a later

dispute over the publishing, Davis denied

ever having heard of Bobby Parker.

However, as a footnote of circumstantial

evidence, many years later, the UK songwriters

Greenaway and Cook had cause

to catch up with Mr Davis (by that time

working in advertising) as he passed off

their melody to the Coca Cola commercial

“I`d Like to Teach the World to Sing” as his

own work.

To take on what became a corporate

company, you are looking at investing

$100,000 with lawyers and Bobby was

never in that position.

In 1960 Bobby left the PWO to pursue a

solo career and based himself in Washington

DC. He met a lady named Lillian

Claiborne who booked artistes, recorded

them and endeavouring to help in every

way. Bobby said: “She was a wonderful

lady. She’d been a dancer with the Ziegfeld

Follies - thirty ladies in a line kicking their

legs up high. And she just wanted to help

others who weren’t moving along. She

helped a lot of people here in Washington

DC”. Her stable of R&B artistes included

Harmon Bethea (later to become Maskman)

and Billy Clark, a tenor sax player

from the Joe Morris and Lionel Hampton

bands, who could rival King Curtis.

It was with Billy Clark that Bobby made a


FEATURE | BOBBY PARKER

series of recordings of the highest quality,

starting with ‘Watch Your Step,’ coupled

with another strong track, ‘Steal Your

Heart Away.’

Over-amplified, distorted guitar and the

incredible drumming of TNT Tribble Jr

fought off a large brass section of saxes

and trumpet in an arrangement by Maurice

Robinson, produced by Bobby, Ruby

Johnson backing Bobby`s wailing. Nebs

Johnson, who managed Ruby and briefly

Bobby, placed records of both his artistes

with V-Tone of Philadelphia. Their roster

included many fine artistes but ‘Watch

Your Step’ making #61 on Billboard’s Hot

100 was one of their few hits.

For such a modest hit, however, its influence

through its issue in the UK was huge.

Released first on London American, it was

later reactivated by Guy Stevens for Island

Records` iconic Sue label.

It seemed like every band in the UK

played it. The Beatles regularly used it

on stage (although a recording has not

yet been found.) Manfred Mann, Adam

Faith, Spencer Davis Group and others

also did covers.

Later on, groups like Led Zeppelin and

Deep Purple used the riff within their

own songs, ‘Moby Dick’ in particular

being far too close for comfort not to give

Bobby a credit.

And of course, the Beatles are on record

as admitting they used “WYS” as the

introduction for ‘I Feel Fine’ and ‘Paperback

Writer.’ .Bobby said: “I was flattered

by that but I still had it in my mind that I

should have got a little more credit.”

V-Tone Records of Philadelphia closed

without ever issuing a follow-up to their

hit. Nebs concentrated on Ruby Johnson

and Bobby`s nearest thing to a manager

was Mrs Claiborne.

She had started DC Records in 1949,

primarily with Gospel music but later

recorded a lot of the output of Frank ‘Dual

Trumpet’ Motley, TNT Tribble Sr and other

be-bop/R&B artistes. By the 60s, she was

covering all sorts of artistes; folk, garage,

even the gypsy guitarist Nick Marks. She

had always recognised the need to get

more national coverage of local artistes’

recordings.

For Bobby`s next 45, after ‘Watch Your

Step,’ Bobby was despatched to New York.

“It`s a rough place. You remember Lloyd

Price. He had a label called L & L (Double

L - Lloyd and Harold Logan) and his office

in New York. And I was sent there to see

if I could get a deal on the label. The day I

36


BOBBY PARKER | FEATURE

came there, there were tapes all over the

place. Police everywhere! Gangsters had

shot up the place. Logan died. Lloyd Price is

still around.”

In the end Sabu Records, a short-lived

imprint involving Mrs. Claiborne, issued

the masterpiece ‘It`s Too Late,’ a track

that might have been on Double L. Bobby

had moved with the times and this song

is nothing but soul. You will rarely hear a

vocal like this.

‘Get Right,’ on ‘B’ side nods to James

Brown`s emergence as the new king and

shows that Bobby could embrace funk in

his repertoire.

Next, another wonderful pair of songs

were placed with the totally unsuitable

Frisky label, a short-lived venture of Connoisseur

Music known only for classical

music output.

Bobby`s career was one of two halves.

By 1969, Bobby`s fortunes were low and

drawing to the end of its first half.

Mike Vernon (UK) tried to make an album

with him and completed precisely two

songs.

Eddie Singleton at Shrine had recorded

him on a strong track arranged by Dale

Warren that went unleased. A session or

two for Chess was recorded but not issued.

And, worst of all, his two major hits, in

spite of being recorded by so many other

people, were yielding no royalties. This

was the time to wonder if he was in the

right business.

Whereas Elvis was a truck driver who

became a musician, Bobby was a musician

becoming a truck driver. Most of all, he

needed a Colonel Parker figure to look

after his interests.

Throughout the 60s and early 70s, Bobby

continued to produce more creative gems

mostly with minor labels; Southern Sound,

Loop, True Spot, Rujac and others.

This was work largely ignored, forgotten,

and almost lost until now when these recordings

have been collected together for

a double cd issue by UK’s Rhythm & Blues

Records. Additionally, R&B has issued the

very first-ever vinyl album by Bobby Parker

which includes most of his singles.

The great thing is that half of the profits go

to Bobby`s daughter Yvette Williams who

aims to preserve her father`s music with

the Bobby Parker Foundation.

Mrs Claiborne died in 1975, a big loss to

Bobby.

For many years after, Bobby fitted musical

activity around jobs outside the industry.

He became a part-time musician and only

when his sister encouraged him to give

it another try, did he return in the 90s to

show us again just how good he was.

Carlos Santana, Kevin Shirley and Joe Bonamassa

were the good guys who helped

this time around and made sure Bobby saw

more reasonable reward for his publicly

demonstrated expertise. The Eagle Rock

DVD of Bobby with Buddy Guy, Clarence

Gatemouth Brown and, of course, Carlos

Santana, is an absolute joyful record of

their appearance together at the Montreux

Festival in Switzerland in 2004.

Bobby we can only hope you rest in peace

after being treated so badly.


BLUE BLOODS DISCOVER THE UNDISCOVERED

SOUPED UP FORDS

WORDS: Supplied

PICTURE: Supplied

In 2009 the Souped Up Fords was formed

with the original line up of Chris Henry,

Dave McCready and Neil Paterson.

The band have toured all over Scotland

playing festivals and gigs from Dumfries to

Aberdeenshire. The band now consists of

Chris on guitar and vocals, Gav Edgar on

drums and the multi-talented Andy Northall

on bass, keyboards and vocals. Chris is the

driving force and songwriter of the band

and is heavily influenced by Rory Gallagher.

In his own words, ‘I went to a gig at Sheffield

City Hall, it was on the Calling Card tour and

with a classic line up: Rory, Gerry Mc Avoy,

Rod D’Ath and Lou Martin. What I didn’t

realise until after the gig was that Rory was

a massive blues aficionado, and through him

I found Buddy Guy, Leadbelly and BB King.’

The Soups were, and still are, a blues driven

rock and roll band although these days their

influences include Latin and folk music.

They see any form of soulful expression of

pain and happiness as the blues and this

gives their music great diversity. Their first

album Half Moon Doctor was released in

2011 and contained a dark funky version of

Chuck Berry’s Nadine. This was picked up

on by Monica Dupont, the great 60s blues

singer who stated through her management

‘she thinks you have a lot of talent! AND she

just called us back, we told her a little while

ago that she should check you out and she

said she listened to a few of your tunes and

you are “FUNKEEEEEEE” (that’s exactly

what she said “spell it with 7 EEEEEEEsthey

are really good” so there you have it!”

The second album ‘Seven Keys’ followed

in 2014 and consisted entirely of Chris’s

songs. Songs like Seven Keys and Big Sound

are influenced by the like of Johnny Winter

and Mississippi John Hurt and have become

staples in the Soups live act. The band is now

working on a new five song EP called ‘Anachronism’,

due to be released this year. Like

everyone else the Soups have had to put

touring on hold due to the Covid crisis but

hope to pick up at the end of 2020 and into

2021. They hope to finish their 2021 tour

schedule with a support slot to Dr Feelgood

in December as part of the Edinburgh Blues

Club programme of events.

38


DISCOVER THE UNDISCOVERED

BLUE BLOODS

NIGEL BARKER

WORDS: Supplied

PICTURE: Alex Metcalfe

“I’m sitting under four banana trees, just

outside my studio, wondering if I should go

in and master some of the tracks for the new

album again. I’ve done them 8 times already.

One more time wouldn’t do no harm but it’s a

bit crazy. It’s not perfectionism, they just ain’t

right yet.

Banana trees? Album mastering? This isn’t a

recording studio in West Hollywood or Laurel

Canyon. This is Chiswick, West London and

this is the tropical garden that surrounds

Wonderland Studios West, my studio. Bananas,

palms, yuccas, tree ferns. The garden is

as crazy as some of the tracks on the album.

Frost tolerant to minus five degrees. Maybe

I should call the album that. Maybe I should

call myself that. I’ve been froze many times.

Died and born again. But haven’t we all. I will

call it FIVE.

I’m on my twelfth career. I have waited on

tables, worked in hotel kitchens, washed

cars and cleaned windows. I’ve been a sound

technician, music engineer, music producer,

dubbing mixer, film editor, screenwriter,

film director and an undercover agent for

the Gambian Secret Police. Am I happy now?

Well yeah.

Winding back, it’s 1983. I’m aged 23 and I’m

standing in line at St Thomas Hospital, London

with gangrene in my left hand. It was the end

of my music playing career. I’d had a car crash

while working as an assistant engineer on an

Elton John album at AIR Studios Montserrat.

It would be thirty years until I played the

guitar again.

Thirty eight years later, (the number of wasted

years are mind boggling!), I’m in my studio

again and decide on take six for most of the

tracks but one track is a rough mix I made for

a promo that is very dynamic. It’s called ‘Yeah

Yeah Yeah’ and features just drums and a one

string guitar. It’s been a six month slog for

most of the album but that track I knocked off

in about four hours. It’s one of the best on the

album. Just goes to show.

How could this turnaround be possible? Well

an American Motorcycle company changed

everything. Yes, forty traffic lights a day for

twenty years with a heavy clutch lever on a

Harley Davidson brought my hand back to

life. Now I am playing catch up on my lost

blues rock career.

This is my fifth album, so I should know what

I am doing. There’s a big orchestra and the

exchanging of a conventional drum kit for

clanging bits of metal on tracks like ‘Telling

My Troubles To Strangers’ and ‘Don’t Think

Twice When Once Will Do’. A bizarre mixture

of genres on ‘I Curse The Sun For Coming

Up Today’, extreme guitar soloing on ’Yeah

I’m Extra Fly’ and Kurt Weill revisited on the

track ‘Heroin’. There has to be at least one

unashamed lapse into classic rock with ‘That’s

The Way It Is’ and an acoustic nod to Robert

Johnson on ‘Only The Right Woman Can Do

Me Wrong’. And of course me on a one string

guitar for Yeah Yeah Yeah. Boy that thing

sounds good. I’m having fun. The lyrics are

strong. The melodies are too.

The album is finished. All Good! ! I’ll tell you

about being an under cover agent for the

Gambian Secret Police another time.”


BLUE BLOODS


BACKDOOR RAMBLERS

WORDS:

Steve Yourglivch

& Joshikai Morgan

PICTURE: Supplied

I stumbled across the recent Backdoor Ramblers

album Backdoor Boogie online and was

immediately impressed by the musicianship,

energy and real feel on display by this young

vibrant band. The band started in November

2018 as a duo with John Mullaly on Harmonica

and Tom Waites on acoustic guitar after

the two bonded over a love of The Velvet

Underground. The duo decided to start making

music together and were originally going for

a traditional striped back Chicago Blues vibe.

Influenced by the likes of John Lee Hooker,

Muddy Waters, Howlin Wolf and Bo Diddley.

With this they wrote the fundamentals of

the first Backdoor Ramblers song “Mojo Rising”

Joshikai Morgan, the lead singer, was the

3rd person to join. Eventually the band grew

to six members.

The name “Backdoor Ramblers comes from a

combination of the songs: ‘Backdoor Man’ by

Willie Dixon and ‘Midnight Rambler’ by The

Rolling Stones.

The band all met each other at a music university

called ACM, in Guildford, Surrey. Our

members had a good environment for musical

influence. We all liked Psychedelic Rock, Jazz,

Hard Rock and Heavy Metal. This eclectic

mix of genre tastes somewhat influenced the

unique playing techniques amongst each member.

But we always want to predominantly be a

Blues band as we love the raw and passionate

element of playing blues together, we bonded

over great blues songs and that’s how we became

friends. With combined ideas, the band

influences have now led to Dr Feelgood, The

Rolling Stones and The Doors.

The band recorded our album Backdoor

Boogie within the ACM studios. The album was

recorded by Tom Waites (guitarist) and John

Mullaly (harmonicist), and then produced by

John. Six songs being recorded take by take

and 2 songs (Backdoor Boogie & Gentle Lady)

being recorded live in the studio with studio

videos uploaded to the bands You Tube page.

Now, all of the band have finished university

and are eager to get back to recording. We

want to record the next album fully live in the

studio because of the powerful vibes gained

from recording Backdoor Boogie and Gentle

Lady, and to keep a good improvisational

60s/70s vibe to the recordings. We also have

dreams to press our work to vinyl and to try

and make our music known in other countries

as well as the UK.

Backdoor Ramblers had over 25 Dates cancelled

due to Covid-19. We are currently working

on more video content, writing new songs

for a second album and hope to be gigging/

recording again soon.’’

As well as Josh on lead vocals, Tom Waites

(Guitar) and John Mullaly (Harp) the band are

made up of Harry Ward-Grey (Lead Guitar),

Jonah Tysse (Bass) and Dan Crossley (Drums).

Facebook: /BackdoorRamblersBand/

40


DISCOVER THE UNDISCOVERED BLUE BLOODS

MISSISSIPPI MACDONALD

WORDS: Iain Patience PICTURE: Supplied

Mississippi MacDonald is a three times British

Blues Awards nominee, from London.

Playing guitar since he was 11 years old, he

has travelled extensively on the US blues

trail, meeting, amongst others, Pinetop

Perkins, Willie Big Eyes Smith, Otis Clay and

BB King. In 2010, he was part of the team

that purchased a gravestone for the late Hi

Records recording artist and soul legend,

OV Wright. Mississippi’s albums, ‘Dress for

the Money’ and ‘American Accent’reached

number 1 and 3 respectively in the UK IBBA

Blues Charts. American Accent was one of

the top 10 IBBA albums of 2016, and was

the ‘Blues Is Back’ Album of the Year, 2017.

Mississippi MacDonald and Steve Bailey:

With The Soul Fixers was released in September

2017 to critical acclaim. Named as

one of the IBBA top 12 picks of 2017 and

Saint FM’s Blues Is Back Shows Record of

the Year, the record got significant international

airplay, including on BBC Radio 2’s

The Paul Jones Show, who described it as a

“Splendid…. a really, really excellent album.”

Blues Magazine NL also loved the released

saying: Mississippi MacDonald, is, despite

the moniker, an English bluesman, and a guy

with his feet, soul and spirit firmly rooted

in the US southern blues music tradition.

Joined here by US harp player, Steve Bailey,

he has turned out an excellent, searing

album that simply rocks and roars along

from start to finish……one of those releases

that come as a welcome surprise in an overcrowded

blues music world these days, with

genuinely top-notch writing, musicianship

and grasp of just what makes a damn, fine

release.”

In the USA, WA Blues Society added: ‘From

the opening bars of ‘I’d Rather Be Blind,

Crippled & Crazy,’ which is performed as

a tribute to O.V. Wright, Mississippi’s stellar

vocals shine as do his guitar chops…

Mississippi seamlessly blends his blues

with elements of R&B and country making

for a unique sound. Very highly recommended.’

Now, with a new album on offer, ‘This

is How it Is,’ a tribute to the late US bluessoul

singer, Otis Clay, MacDonald is again

making waves with his fine song-writing,

vocals and fretwork all firmly centre-stage

and to the fore.

mississippimacdonald.com


BLUE BLOODS DISCOVER THE UNDISCOVERED

CROOKED EYE TOMMY

WORDS: Supplied

PICTURE: Supplied

Brother guitar duos are a rare and special

commodity in the music world, with such a

bond resulting in historic acts like AC/DC, The

Kinks, CCR, The Everly Brothers and Stevie

Ray and Jimmie Vaughan.

Southern California brothers Tommy and

Paddy Marsh formed Crooked Eye Tommy in

2013, named after Tommy’s lazy eye. They

quickly made a name for themselves becoming

six-time Ventura County Music Award winners

and two-time International Blues Challenge

semi-finalists (2014 and 2019) and in 2020

reached the IBC finals as a duo act. Tommy has

also been inducted into The Ventura County

Music Awards Hall of Fame this year.

Crooked Eye Tommy casts a musical spell with

the depths of joy and melancholy that can only

result from a lifetime of playing music together.

The brothers share songwriting duties, highlighting

their distinct differences, both compelling

in their own ways. Their debut album, “Butterflies

And Snakes,” released in 2015, earned

impressive acclaim and recognition.

Capitalizing on that momentum their sophomore

effort, ‘Hot Coffee And Pain,’ contains

nine blues and roots rock tracks: three covers

and six originals, including a duet written by

Tommy Marsh featuring Grammy nominee

,Teresa James, on vocals and piano. The project

was recorded at Carbonite Sound in Ojai,

CA with Grammy-winning audio engineer

Jason Mariani (Joe Bonamassa, Robben Ford)

at the helm.

The new opus is doing gangbusters on the

Roots Music Report charts with one of the

tracks, ‘Death Letter Blues,’ taking the #1 spot

for contemporary blues song. The energized

track kicks off the set letting us know Crooked

Eye Tommy is not an old timey skiffle group but

an electric band with dual lead guitars from the

Marsh brothers, swirling Hammond B3 from

Jimmy Calire, and a heavy groove from the

rhythm section of Samuel Corea on bass and

drummer Charlie McClure.

‘Hot Coffee And Pain’ also debuted at #15 on

the IBBA July chart. Talking about the title

track, Tommy says, “I wrote this song entirely

in my head. It started when I woke up one

morning with bad back pain. I was sitting at the

coffee table with my head in my hands and my

coffee cup (like the cover art) and the line hot

coffee and pain came into my head. The song

wrote itself and morphed into a love lost story.”

Plans are afoot to tour Europe once restrictions

lift. In the meantime, you can find out

more about the lads at

www.crookedeyetommy.com

42



BLUE BLOODS

JIMMY REGAL & THE ROYALS

WORDS: Steve Yourglivich

Jimmy Regal & The Royals are a steaming

three-piece band from South London who

amalgamate Mississippi Hill Blues, Hound

Dog Taylor and New Orleans swamp with

old school Thames Delt.

We’re talking Dr Feelgood and The Rolling

Stones. Their second album, Late Night

Chicken, is about to hit the streets and it is a

simmering stew of all of those influences.

The album was recorded at Soup Studio

which is situated on a former lightship on

the Thames with producer Simon Trought.

Guitarist CJ Williams recalls, “When the tide

was down, we played on a slight slope, come

evening time, the tide pops the boat back up

and everything starts rocking.”

As well as Williams, the line-up consists of

Joff Watkins, a powerful harmonica player,

and Sammy Samuels on drums. Between

them they brew up a storm but always with

a feel of authenticity for their roots, often

a rare commodity. World renowned kora

player Diabel Cissokho guests on the album

track Can’t Cry No More, having worked

with Joff previously on his own projects.

The three covers on the album give a clue

to the bands style, Junior Kimborough’s, All

Night Long is awesome, Commit A Crime by

Howlin’ Wolf and the Dr John composition,

Lights Out. But these guys can write top

class originals too with no dip in standard.

Cedric Burnside and Ramon Goose are fans

and have been championing the band.

The album comes out in September and

hopefully the launch gig at 100 Cub in December

can still go ahead.

More more info and updates check out:

jimmyregalandtheroyals.com or

lunariarecords.com


CINDY CASHDOLLAR

NO LAST WALTZ

WORDS: Iain Patience

PICTURES: Sergio Kurhajec

Cindy Cashdoller is more than a memorable

name. She’s a five-times Grammy winner, so far,

with an impressive history and a rare fretwork

talent that has kept her in constant demand

as a go-to slide player for many of the greatest

names in the music world. And, she rides sidesaddle

solo too, with a new album, ‘Waltz for

Abilene,’ gaining global, rave reviews, she took

time out to chat with Blues Matters for the first

time about her career so far.

Cindy Cashdollar is that rare thing, a musician’s

musician. Based in the world-famous Woodstock

area of New York State, home to the

legendary festival held just over fifty years ago,

she is partly grounded by the dreaded Covid-19,

with venues across the world now closed, unable

to get out on the road, to play, tour or generally

promote her new release. With lockdown,

stir-crazy fever yet to take hold we chat about

the new album and the simply stellar cast of

musicians who feature on the release.

“I had to have Albert Lee. He’s amazing and I

wanted to take the piece, ‘Memphis Blues’ at a

slower pace than we’re all used to with Albert. I

didn’t want that rapid machine-gun-fire picking,

that rattling bluegrass style or sound, that he’s

famous for. I knew he could easily do much more,

and with an acoustic guitar, and it all worked

beautifully when we managed to get together. I’d

been on tour with him and had run nine nights in

a row before I could pin him down.” she explains.

And we go on, to many of the others, from Sonny

Landreth: “We’ve been great friends for just so

long. It was a natural thing to have him play. But I

had to catch him on tour.”

And Larry Campbell, I ask? Another Woodstock

resident and neighbour famed for his versatility

and work as both writer, player and producer

with countless major US names. Cindy chuckles

and says: “Well, I needed fiddle and mandolin, so

who else to turn to but one of the best who can

play both. Who else are you gonna call?”

The jaw-dropping roll-call continues: “Everybody

who plays on the album are good friends.

It made it all more fun. There’s Mike Flanagan,

Omar Kent Dykes, Derek O’Brien, Ray Benson,

Amy Helm. Jake Langley. Sonny Landreth. Rory

Block. Larry Campbell. Marcia Ball. Arlen Roth,

I’d been working on and off with Arlen for so

long, he wrote the song I wanted on the album so

who better to have play on it?”

With such a range of musicians, all busy with

their own recording and touring schedules,

I wonder how long it took to put the project

together: “Four and a half years,” she confirms,

before adding: “I had a bad car accident in 2017

that took a year out. It was the project that just

kept going but made it in the end!”

But Cashdollar is a guitarist who moves effortlessly

between genres, hopping around with

seeming ease, quality and self-assurance. Known

for her near-decade with leading US bluegrass

giants, Asleep At The Wheel, where she picked

up her first Grammy, she laughs when recalling

how that one came about, in many ways

against the odds: “I’d moved from Woodstock to

Nashville. I had a demo-tape and heard the band

was looking for a steel player, so sent it in. I got a

message from them saying they were interested,

and we met up and I got the job. They were so

INTERVIEW | CINDY CASHDOLLAR

patient with me really. I was still learning, my

playing a bit rough, but they gave me time and

space to develop. It was a great time.”

at the time and he came over and introduced

himself, as ‘I’m Bob.’ He was absolutely fine, no

problem whatever.”

And what about that awards circus, I venture?

“It’s all good. It’s not about the award itself, it’s

the fun and it’s good to get one, it helps with

promotion and the like. I love the ceremony

itself. I go along and just stand looking around.

Thinking, ‘Wow, there’s that one, and that one

or that one.’ All those great musicians!” Cindy

laughs at the very thought of finding herself in

company with many of the players she herself

admires, who have influenced her and been the

soundtrack of much of her life.

Revered for her steel and slide-guitar work,

Cashdollar kicked-off with guitar at home in

Woodstock before hearing slide and being

turned on to that zinging sound: “I’ve always

liked different kinds of music at different times

of my life, from starting out with folk-music to

Dobro, then slide and steel guitar. Growing up in

Woodstock was a loose thing. I don’t mean it was

crude or anything. But clubs and bars were open,

I could go along even as a fifteen-year-old and

see some good live music. I remember seeing

guys like Happy Traum (another Woodstock resident

and a true US folk-blues-roots icon), Billy

Spear, Odetta, Van Morrison and John Hammond

Junior. John’s always been a favourite,

he’s such a great picker. I saw so many of these

people at the Woodstock Playhouse. There was

so much variety going on.”

“I was a bit of a late bloomer, in my early 20s really.

Mike Aldridge was doing such great things

with a Dobro back then, so influential and inspiring.

But I heard all this music, so many styles and

ways of playing. It can never be boring, there’s

always so much to learn, so much to try out.”

I’m tempted to raise a query about how she

found working with Bob Dylan, a guy with a

reputation of being tricky at best of times: “I got

on well with him. He’s a really lovely person. I

remember being in a studio, I think in Miami, and

we were waiting for his arrival. The sound guys

were tense, saying, ‘Bob’s coming, Bob’s coming.’

Then he walked in. I was tuning up or something

And the same goes for Van Morrison with

whom she recorded and toured: “Van is fine,

interesting guy. We always got on just fine,” she

says, before I turn to another bluesman with a

strange reputation, the late Leon Redbone: “I

worked with Leon for over eight years. I was

introduced to him and invited to play with him.

I kind of knew what was expected. To me it was

just another job at first, like any other, and I soon

learned his quirks. He was quirky, difficult to get

to understand at first. He had that thing with the

white suits. I’d go over to his place, say the night

before we went on the road, and he’d not be

wearing the suit but maybe the white trousers

and cooking in the kitchen. He was a great cook,

delicious food. And I never saw him wear blue

jeans, he was always dressed just so,” she again

laughs at the memory of an old buddy before

revealing an

aspect of his

undersurface

perfectionism:

“We did a gig

once and I

had thrown in a wild note. Afterwards in the

dressing-room Leon asked me if I’d played the

extra note. I nodded and he turned and told me,

‘just stick to the rhythm, stick to the melody.’ He

obviously wasn’t happy to have me move from

the melody line.”

“it was a rough ride for a while”

“But when I got the job with Asleep At The

Wheel, I was working with Leon. I felt guilty

about it, about sort of deserting him. But I told

him about it, how it had happened, and he was

great, so helpful, understanding. I told him I felt

terrible but had to do it. He said he knew I was

able but asked if I’d be able to keep up with their

schedule! He was so gracious about it all. In the

event it was a rough ride for a while, but the guys

gave me time to step up to the plate.”

Inevitably thoughts turn to her work with

another former Woodstock resident, still based

in Upstate New York, blues-slide great, Rory

Block. Cashdollar and Block work together as

a duo, ‘Sisters of Slide,’ and have gained a huge

international following for their astonishingly

nuanced, joint slide endeavors and fretwork

abilities: “I love working and playing with Rory. I

actually took some guitar lessons with her when

I was young, and she was living here in Wood-

46


CINDY CASHDOLLAR | INTERVIEW

stock. She’s a fabulous player. We’ve become

great friends. There was a time when we hadn’t

seen each other for maybe twenty years but

when we met up again, it was like we’d always

been around. We get out together whenever we

can but it’s always hard to find the time in both

our schedules to get together and tour. We just

don’t do it often enough…but that’s only down

to our own tour and work schedules really.”

Looking back over her career to date, Cashdollar

is always fun, light-hearted and engaging:

“There are times when I almost pinch myself

and think, ‘where am I. How did that happen.

What happened.’ Two guys gave me the best

advice I ever had as a musician both

said the same thing. Rick Danko

(another former Woodstock

resident and member of

legendary outfit, The Band)

and Paul Butterfield. Both

told me never forget ‘less can

be more.’ It was very timely advice

that I’ve taken to heart. I

guess Leon (Redbone) really

took it just a step further!”

Again, Cindy laughs at the

oddly accurate thought, as

we say our farewells.

DISCOGRAPHY

• Waltz For Abilene - 2020

• Slide Show - 2004


KING KING

A MAVERICK AT HEART

WORDS: Colin Campbell PICTURES: Supplied

Blues Matters! took the chance to speak

to Alan Nimmo, lead singer, songwriter

and guitarist of Blues-Rock group King

King recently.

King King is an ever-evolving band and

has recently changed its line up, including

joining forces with Alan’s brother, Stevie,

on guitar and vocals once again. Their fifth

album, ‘Maverick,’ is out in November,

ten tracks co-written by all or most band

members. Various topics were discussed

including, changing band line-up, the new

release and rescheduling concert tours.

Hi Alan, thanks for taking time out to talk

to Blues Matters, how’s it going with you?

It’s been a difficult time. No one saw this

pandemic coming. We’re climbing the

walls. It’s going to be difficult getting back

to match fitness. I’m going to be starting

to rehearse with the band soon. It’s alright

doing the wee Lockdown Sessions, doing

a few songs, but now I’m thinking about

doing a whole set at full pelt. That’s probably

going to hurt! It’s not a case of getting

wheeled out of the cupboard, turn us on at

the back and we go again!

KING KING | INTERVIEW

What’s it like to have Stevie playing with

you again in a band?

I’ll tell you when he does! If truth be told

this was inevitable. Had this in mind for

a couple of years, the timing had to be

right. Original plan was to take him out to

do some Summer Festivals, but then the

pandemic came…I chatted to Stevie long

before this and said what I was looking for

and what future plans were. He helps with

the album, writng lyrics with me. He’s done

backing vocals. I always want him somewhere

close to give me a hand. We missed

out on doing the twenty fifth anniversary

Nimmo Brothers shows.

How has this changed the groups’

dynamics?

These decisions are never taken lightly

to change a band line up. You are obliged

to your fans to ensure they have a say in

things. I needed the band to be moved up a

level and needed things to change. Bringing

Zander Greenfield into the band was

for me the only replacement for Lindsay

Coulson. I needed an ally and somebody to

trust. I auditioned different bass players

but Zander put the effort in. I’d give a cross

section of songs that showcase what the

band did but I knew there were parts, he

nailed every part. There’s history between

us, and Stevie it’s like the Blackwater Blues

Band reunion.

Would you be playing Nimmo Brothers

material at concerts, or is that another

identity?

NO! It would be stupid, suicide! This is

King King and needs to be King King. If we

want to play Nimmo Brothers songs we’ll

do a Nimmo Brothers tour. Stevie sees

where I’m coming from in this. He knows

there should be no confusion just because

he’s in the line-up. People get excited

they’ll want to hear certain things but

when people see how the new line up has

adapted it will enhance the band. Guitar

parts were getting complicated, I needed

another guitarist. It also becomes more

about songs than the ten minute guitar

solo! It looks good for the fans to have

two lead guitars. Backing harmonies to

me was the weakness in the band. I’ve

three voices behind me now, which makes

me very happy!

What’s the back story behind Maverick,

why the title for example?

I made bold changes to the band. There

are many layers to what happens in this industry.

There’s a tip of the cap to me when

I was a youngster. I was referred to as a

daredevil when I was a kid. I was always

getting into scrapes.

Talk about the production of the release,

how long did it take?

We were on a roll at the end of the year.

Jonny was here piecing songs together.

We arranged the songs and getting them

to the band. It came to doing the vocals

and luckily I have recovered enough to be

able to sing with no real worries any more.

The recording studio closed down when I

had three songs to sing! We never got the

satisfaction that it was completed until the

last few weeks. We were sensibly socially

distancing when finishing the tracks. If

you get songs prepared in the right way

before you record, they go down quickly.

We missed deadlines. It was a massive risk

on my part changing a popular line up; I

needed the best material, best recording

and promotional campaign.

Have any of the new songs been road

tested as such?

Been getting airplay for the first two singles.

Planet Rock have taken to us well. I’ve


INTERVIEW | KING KING

done some acoustic lockdown sessions.

Heard your version of Amos Lee’s Violin, a

great interpretation.

This was suggested by Lindsay Coulson. I

loved playing this and got Jonny Dyke to

play piano.

Is there a theme running through the album,

it seems to be a very optimistic one?

I think you’re right. Over the years, with

such songs as Broken from the Exile And

Grace album, talking about the state of the

world was more negative. There are a couple

of songs on the new one that I wanted

to write and stress concerns about the

future but wanted a more positive theme

so it wasn’t all doom and gloom! There are

a couple of ballads. I know there will be

obstacles and I wanted to say... put some

grit and determination into things. Never

Give In,and, I Will Not Follow have this

theme. If you write your lyrics universally,

people can take from that and relate to

their own stories.

What was the song writing technique,

how was this achieved?

By me sitting with an acoustic guitar,

coming up with bits of music. There’s no

formula I stick to. If I have an idea for a

lyric or melody, Jonny and I will sit and he

would noodle with this as piano players

do! We can sit and add bass parts, drums

and make a song, take it to the lads, that’s

the process. The lads are so talented; they

know what I want to get from a song. I have

dedicated days in rehearsals to do backing

vocals now. They have to understand how I

sing and match phrases, so it sounds tight!

Have you a personal favourite, End Of The

Line is about your relationship with Stevie

and brotherly love, want to talk about this?

It’s the last song I sang when the Studio

reopened to finish the album. End Of The

Line is about me and my brother. Tons of

working together and now it’s fate we are

working together now! By Your Side is

very personal to me. Fire In My Soul, I like.

Whatever It Takes To Survive, makes me

think of what was going on in my life when

I wrote that one. It’s all new, they are all my

favourites just now.

The track, When My Winter Comes is

particularly reflective, care to say how

that came about?

I was asked to write a song about Sir Alex

Ferguson. A film is coming out; I was asked

to write a song about a young man looking

forward and an old man looking back on

his life. Looking at his background, coming

from Glasgow. I did my best to do it, as projects

evolve they didn’t use it. If you didn’t

know that story you wouldn’t know the

specific person I was writing about. I felt it

needed a piano and Jonny made it special.

He spent time with French singer Patricia

Kaas, so I knew he could do it. I think we

can bring in a piano and vocals part of our

set live! I’m a huge fan of rock and blues,

always will be. But at the end of the day, a

band has to play to their strengths. I don’t

have a rock voice. I’m not doing that whole

expectancy of pushing the band down the

rock road. I want to be true to myself as a

vocalist and for the band.

What’s the best musical advice you have

had and by whom?

This was given to me from a friend; I used

to play in a function band up here, I played

guitar with Big Vern and The Shootahs. Rupert

Black, the keyboard player was with

TalkTalk ,and The Pretenders. When he

was asked to play with Chrissie Hynde he

told me this story. He asked the Manager

if he had any advice about touring with the

50


KING KING | INTERVIEW

“people say I’ve a

face for radio”


INTERVIEW | KING KING

band. He said, ‘ Don’t do it like a pub band.’

I’ve kept that in mind. I loved Stan Webb

but didn’t want to take his advice, ‘Take the

money and run son.’ One more, Big George

(Ross Watt) phoned and I played guitar

with him. He had a half pint of Guinness

and a whiskey sitting there for me. He

pointed at it and told me to pick it up.

Then he said, ‘Drink it like a man.’ I wolfed

it down. He drank it and said ‘Don’t ever

do that again, don’t end up like me.’ I took

that advice. He fell on stage and just said

to me, ‘Take a solo I’ll be alright.’ He was so

passionate, a real influence.

Does blues music matter these days?

People make the mistake of trying to reinvent

it. They move it and forget the basics

of blues. Blues is not always about standing

working on a railroad. Blues is a feeling

and what it means to us all. From a musical

point of view, it’s important to understand

how it works. There’s a way of doing it

right. Nothing worse than players turning

their noses up and saying it’s easy. Usually

the same people who call it ‘the blues.’ That

always wound me up, it’s blues! If you want

it to matter, respect blues. If you do it, do

it right. If you treat it with disrespect just

GO as far as you can and leave it for people

that love it. That’s how I feel, it needs to

be remembered in the right way. If young

bands can find the passion for their music

then it will be left in good hands.

How important is image in promoting

your music?

Unfortunately, very important. I think

the days of having to be pretty are over.

People say I’ve a face for radio! It’s important

to create ‘a brand’ and that relates

to you. It’s a music business. You have to

have plans and create the perception and

ideas that follows.

Any tales from touring you can tell us?

Maybe twenty years ago we were wilder

but from starting King King this was going

to be a serious business and I would lead

by example. There’s no drinking on tour.

At home we’ll have the wildest party. You

don’t take a bottle of gin with you into the

office! We’re an in-house band, we don’t

get pampered. We pride ourselves in being

a team. Sleep is very important as a singer

and if my voice goes there is no show!

If you were not a musician, then what

would you be?

I don’t know. When I was younger I loved

football and athletics. I chose music and

so focussed. I worked in Schools, and was

a lifeguard.

What are your plans for the future?

As long as we can get back playing next

year and we have a new album to promote.

We want to get moving, there’s way more

that I want to achieve with this band.

Looking forward to keeping on! Thanks for

people’s continued support.

Thanks again Alan.

Cheers, see you soon!

King King’s new album “Maverick” is released

by Channel 9 Records on November

6th via www.kingking.co.uk

DISCOGRAPHY

• Maverick 2020

• Exile & Grace 2017

• Live 2016

• Reaching For The Light 2015

• Standing In the Shadows 2013

• Take My Hand 2011

52


RHYTHM & BLUES RECORDS

www.rhythmandbluesrecords.co.uk

BOBBY PARKER SOUL OF THE BLUES 2CD (also on LP)

Virtuoso blues guitarist Bobby Parker inspired John Lennon, Eric Clapton, Carlos Santana,

Jimmy Page and many others yet it has taken 66 years since his recording debut for a proper

compilation to be issued under his name. The one you all know, Watch your Step was played

on stage by the Beatles in their Hamburg days who by their own admission, took its riff to

fashion the opening to I Feel Fine. And let’s not forget Led Zeppelin’s Moby Dick, which

borrowed that same riff. What a great soulful blues singer Bobby Parker was too. From his 1956

recording of Titanic, to 1969’s It's Hard But It's Fair, we present some unforgettable vocal

performances plus guitar instrumentals that showcase his unique way of playing the blues. And

there are some unreleased live performances from a radio show broadcast in 1995. Bobby Parker

originals are hard to come by – apart from the hit Watch your Step, everything else is a

valuable collector’s item. But this compilation brings them all together in one set and we can

promise a treat in store for you.

AMERICAN FOLK BLUES FESTIVAL MANCHESTER 1962 CD

Manchester Free Trade Hall was host to two concerts on Sunday October 21 st 1962 that acted

as a catalyst to the nascent British Blues & R&B boom, around 2000 early blues enthusiasts

saw the first major concert in Britain to feature American bluesmen. Manchester was the only

UK date on the 1962 American Folk-Blues Festival tour and it was attended by blues fans from

all over the country through what Paul Jones called ‘the bush telegraph’. With Jones were

Alexis Korner and Macclesfield-born John Mayall, plus extraordinarily a contingent of

younger fans who had made the trip in a clapped out van from London. Why extraordinary?

Because the van contained some of the future superstars of the British scene: Mick Jagger,

Keith Richards, Brian Jones and Jimmy Page. The Stones by this time had just a dozen gigs

under their belts and Page had recently embarked on the first stage of his career as a session

guitarist. Jimmy Page: “I was keen to join the pilgrimage to Manchester… it was also the first

time I met Mick, Brian and Keith.” In excellent sound quality.

Rhythm and

Blues

LYNNE JACKAMAN

A CLOSE SHOT

WORDS: Adam Kennedy

PICTURES: Alfred George Bailey and Adam Kennedy

For the fans of Lynne Jackaman,

the question on the tips of their

lips for some time has been when

will the British chanteuse unveil

her debut solo album? And the

good news is that their wait is

now over.

Of course, you only get ‘One Shot’ to

make a first impression, and so in recent

times, Jackaman has been making sure

that everything was in its right place, so to

speak, before unveiling her labour of love.

To bring her dream album to life, the

versatile artist undertook a journey

across the Atlantic alongside producer

Jamie Evans to the legendary FAME Studios

in Muscle Shoals, Alabama. And it was

here where Jackaman was able to record

her magnum opus.

Whilst in the Shoals, Jackaman worked

alongside a world-class studio band of

artists who have featured on a whole raft

of timeless classics and global hits. This

includes the likes of Spooner Oldham,

Clayton Ivey, Bob Wray, Will McFarlane

and The Shoals Sisters, to name but a few.

Blues Matters Magazine caught up with

Lynne Jackaman ahead of the release of

her new album ‘One Shot’ to get the lowdown

on her latest offering.

Having your debut solo album release

literally around the corner now, are you

excited or nervous to hear the response

from the rest of the world? How are you

feeling about it?

All of the above. I’ve been talking about

it sometimes and started crying. Don’t

worry I’m not going to do that now but

it’s just such a relief because this album

undoubtedly just completely changed my

life. When I’m looking at it, at one point I

just didn’t think it was going to come out.

So, for me, the success, you know, I’ve

already achieved it in so many ways, more

than I thought I could - just because of the

long journey with it all. I feel excited. I feel

nervous. I just don’t want to let the fans

down. I just really hope that when people

hear it, what’s going through their mind is

that it was worth the wait, to be honest. So,

fingers crossed.

ISSUE 116 BLUES MATTERS! 55

INTERVIEW | LYNNE JACKAMAN

The writing on this album seems to

come from a deeply personal place.

I know it was written in the aftermath

of a broken relationship. Did you find it

cathartic or therapeutic to sort of get

some of that out?

It was written during the breakdown of the

relationship. The songs I took to Muscle

Shoals were written over a couple of years

or a year where it was a place that I went

into to try and express my frustrations

with the situation that I was in.

Another thing is that it’s almost like in

releasing this album, I finally put all of that

to bed too. And it is deeply emotional for

many reasons. But you get to a point where

before something ends there’s a lot of moments

where you try and save it. There’s a

lot of moments where it’s just not working

and of course it isn’t, because it’s meant to

end. That’s all part of the process of being

unhappy. And in hindsight, you say I’m glad

I was because when he said that to me, I

summoned up the courage to leave. And

it’s all part of the bigger picture. But when

you’re in it, you don’t know which way is up

or down.

And it was the place I went to because I

just felt unheard and frustrated and I just

put it down in a song. I guess where some

people would write it in a diary or something.

And then, yeah, those songs ended

up becoming this collection. The other

songs, I mean, ‘On My Own Stage’ and

‘My Beautiful Loss,’ are probably the two

on the album that aren’t really about the

breakdown of that relationship so much.

‘My Beautiful Loss’, is in memory of Adam

Green. That’s my goodbye to him musically.

And then ‘On My Own Stage’, was something

that I wrote at three in the morning

at my place in Wood Green.

When I first started to write about it, it

was weird actually. When I first started it,

it was about missing Adam next to me on

stage. And that’s where I wrote the lyric,

when I’m on my own stage I will heckle

myself. Because when you’re in a band

together and you’ve co-written songs

together you are so close to it all. He was

with me when I fucked up, and he’d always

heckle me, and I would heckle him. And

because he wasn’t around anymore it’s just

like, I guess I will heckle myself now. But

then the first verse kind of took on a different

meaning of grief and me letting go and

stuff like that. And that wasn’t anything

to do with my relationship at all really, so

I think they’re the only two on the album

that are more away from that subject.

But yeah, it was very much something that

was written during the breakdown of the

relationship and it was my solace as well.

It was where I went to get something good

out of this frustration. And I never knew in

a million years that they would end up on

an album and that album would be recorded

in Muscle Shoals - I didn’t imagine that.

I didn’t set out with that intention. I just

wrote, I just explored that angle and used it

as a vessel to just get shit out so that I can

just get on with my day and not feel like a

ball of confusion.

On the subject of Muscle Shoals, the

album was recorded out there. But it was

mixed a little bit closer to home by Wayne

Proctor at House of Tone Studios. I know

Wayne has been playing in your live band

recently. I just wondered how did that

connection come about?

Well, Jamie Evans is a huge catalyst in all

of this. He also produced and arranged the

album. And, you know, I went to him with

this collection of songs and he helped me

56


“I just felt unheard

and frustrated”

INTERVIEW | LYNNE JACKAMAN

pick what he felt were the strongest. And

then we just worked on them, because I

just felt they were demos, they weren’t

release-worthy. And he’d been to Muscle

Shoals a year before and he said I think

they’ll love you there. And he gave me my

confidence back at the time when I just

thought everything’s

going to shit.

And so, we went to

Muscle Shoals, we

made the album - we

had done it through

Pledge. It took me

a long time to get

it mixed, as I had to

raise the money because

that went down

with the company and

all this kind of stuff.

And Jamie had known Wayne from way

back. And Wayne probably lives about an

hour away from us.

“he’d always

heckle me,

and I would

heckle him”

I think it was around January or February

last year and it wasn’t anything to do with

my album. And Jamie, I think he reached

out to Wayne, or Wayne reached out to

him and it was just kind of, hey man, how

are you doing? What’s happening? Have

you got any work? What are you doing?

And I think it was just kind of like a catchup.

And then he said, well actually I’ve

been working with Lynne, we’ve got this

album why don’t you come over and listen

to it? And Wayne, when he sees an opportunity,

he will jump on it - he’s a proactive

character.

So, he came around and he did that. And

naturally, at this point I’m getting frustrated

because I’m like, I don’t know what I’m

going to do because I’ve got to raise the

money. I’ve got to do this, and I’ve got to

do that - but he took a leap of faith. He was

just like I think this is amazing. I can hear

where this is going.

Then the three of us just worked closely

and we’d tell him what we wanted. He

would come back with the revisions. And

that’s what you do when you mix, you send

over anything between three to ten versions

of the song. And then

you get to the final mix that

you’re ready to print. So

yeah, it was great.

And then, of course, Wayne

is a great drummer, and he

said I know the album back

to back as I’ve been mixing

it. So why don’t I play for

you live? You know, we

kind of travelled four hours

down to London for a gig

and back and he was just

very supportive. So, it was all very organic

and then he finished the album up I think it

was in January or something. Yeah, and it

was a bit of a celebration really because we

had finally got there.

And as I said, at one point, I didn’t know

who was going to mix it, what I was going

to do. So, he was a big energy in that

respect. Because he knew Jamie, there

was already that sense of ease between

them where Jamie could just be like, mate

that’s not how we want it, you know? So, it

was all very organic and yeah, that’s how it

happened. Jamie introduced me to Muscle

Shoals and Jamie introduced me to Wayne.

How do you intend to approach the rest

of the lockdown period? Do you have any

loose plans or do you know what you’re

going to do? Or are you just going to kind

of wait and see what happens?

I’ve created a set up at home where there’s

almost like a real creative hub now. I think

58


once the album is out and I know that I

don’t have to give energy to the behind

the scenes activities and work on the

administrative stuff I will be free to

focus on other things.

What I’d love to do is to just get completely

immersed in instruments that

I haven’t played and really hone into

songwriting and really get into lyrics

and to just really get lost back into

the music and into that side of things,

because that’s how ‘One Shot’ started.

You know, it was from just writing for

the sake of writing and seeing what

happens. And then it builds and then it

becomes an evident pattern and a collection

of songs that become a concept

and an album. So yeah, I just want to

start from that true place again.

And I’ve been having some, albeit via

the phone, some drum lessons with

a friend. And I just want to surprise

myself a bit and just learn other

instruments and just kind of just see

where that energy takes me in writing

and music and let that lead me to what

I kind of end up committing to doing.

And also just trying to start to see

people a bit more and use my instincts

and see where it goes.

Lynne Jackaman’s debut solo album

‘One Shot’ will be released on Friday

14th August.

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@MusicDomMartin

INTERVIEW | DICK TAYLOR

DICK TAYLOR (THE PRETTY THINGS)

A BARE-BONES

CONVERSATION

WORDS: Glenn Sargeant

PICTURES: Judy Totton, Mark St John and Supplied

The Pretty Things have been making

music for over fifty years and 2020 was

no exception with a new acoustic album,

‘Bare As Bone, Bright As Blood’ released

on Madfish Music.

However, Phil May sadly passed away

on 15th May 2020, so the record has

now become a posthumous release.

Glenn Sargeant spoke with Dick Taylor

about the new record and his late bandmate

and friend…

Hello Blues Matters here, how are you?

Glenn, hello. How are you?

Good, thank you. Thank you so much for

doing this.

It’s an absolute pleasure. (Laughs) I’ve

been thinking about this all day and I totally

forgot it! I’m sorry to hear about your

father, (Pete Sargeant) by the way.

Thank you, that’s very kind of you to say.

Well we’re kind of both in the same boat

aren’t we, what with Phil and your Dad?

Yes – it has not really been a great year

has it?

In many ways, no. But you can’t expect

them all to be 1967 after all?

My brief if you like, (as Dad would say!) is

to discuss the new album ‘Bare as Bone,

Bright as Blood’. Where in the world did

you decide to record this album?

We recorded it at 811 Studios. I’ve been

going there for years and it is just a studio

and no name over the door. It’s in Cowfold

in deepest Sussex and it is quire rural.

Interesting because Mikey Miller who’s

studio it is, managed to acquire a Trident

Desk from one of the big old film studios

and it is a desk from the Eighties. In actual

fact, he brought two of them and it is

a wonderful console, not without

its issues. When he got there,

the builders had decided

that even though it is worth

about eighty grand they

couldn’t get one of them

out of the room it was in

so they chain sawed it in

half which didn’t do it any

good! So, he finished up

with one. Lots of vintage

gear from the Eighties and

Nineties, and we used Radar to

60



record most of the album. Mark St John

is our manager and producer and he is a

great lover of the Radar system which is

so much like analogue recording. Yes, we

did record it on Radar but we kept it as

analogue as we could.

The basic premise behind it was the show

with did at the Indigo at The O2 room in

Greenwich; London really did draw a line

over the electric gigs. We were intending

to kind of relaunch ourselves in some

way with an acoustic lineup. We never

really did anything in a final format but

we thought ‘Let’s record an album and see

where to go from there.’ Also, we were

electric live show and people were asking

if it was available shows that it must have

struck a chord with someone.

It seems it always went down very well.

That was the starting off point, and we

then looked for things to go with it without

repeating ourselves. We wanted to broaden

the repertoire on it and I think it is quite

a wide selection of stuff. Also, it was just

what worked. When it came to Phil, he

was very conscious of lyrical content and

because we haven’t got self-penned songs

on there it was really a question of having

songs we felt comfortable singing. He was

doing an acoustic section in the middle of

our live electric set and we were constantly

getting people asking us ‘Is this on

records?’ We recorded a couple of tracks

and it developed from there.

Each song has a different meaning or significance

to people, that’s why at certain

events, such as funerals and weddings,

the music is so important and the choosing

is important. The fact that you were

doing the acoustic set in amongst the

doubtful of a couple of things and then

when we recorded it he was happy with

it. Other tracks he was absolutely behind

them. However, we had to hammer it

out and choosing which tracks to do

was almost a longer process than recording

the album.

When I think about you, I think ‘It must

be a nightmare picking a setlist when you

do a live show?’ You have such longevity

as an outfit and all this material, a smorgasbord

to pick from, so when you say

62


DICK TAYLOR | INTERVIEW

the selection was a long process I totally

understand it.

Yes – When it came to onstage material

it was very much what worked together

and you have to take into consideration

what the audience wants as well. That is so

important because they are there. It’s not

all about pleasing your audience but it is

not all about pleasing yourself.

It is trying to find that happy medium.

Exactly. I remember we did one album we

were all very proud of called ‘Cross Talk’ in

show, if the artist or band looks like they

are not enjoying themselves, there is a

strong probability the audience aren’t

going to enjoy themselves either.

You’re right. You are absolutely right.

They pick up the vibes.

Luckily, when it came to getting on the

stage we did mostly enjoy ourselves. You

have stand out gigs but particularly with

the final version of the band with the

two young guys which had actually been

the Eighties and we performed some gigs

in Germany including Joe’s Beer House

in Berlin. Most of the show was the new

album because we were so proud of it. Despite

it being musically one of our better

gigs the audience were puzzled. You have

to strike a balance and when you record a

new album it is about easing a few of those

songs into your repertoire but also making

sure that everyone knows the numbers!

Phil sometimes had to be encouraged, shall

we say, when it came to new material!

I couldn’t agree more. But with a live

the longest lasting of all the line-ups. We

looked at it and thought ‘These guys were

the longest running version’ and by the

time it came to the final show we certainly

knew what we were doing and we would

have found it hard to do a really bad gig! It

was so good to be so used to performing.

The combination of the people we had

worked really well.

Were you ever able to do any live shows

acoustically? I read that you did an

acoustic set in Guildford.

Yes, we did do quite few with myself, Phil



and Frank Holland, the other guitarist, and

the Guildford one we did that with myself,

Phil and Sam Brothers who is actually the

other protagonist on the acoustic album

playing guitar and hillbilly banjo. Quite a

bit of it is myself and Sam playing together

who is a young guy, very good. We musically

got on very well and we did working

out of arrangements together. Some of

them were very enjoyable but you are very

much exposed in an acoustic gig like that. It

was just another part of the deal and quite

challenging at times I must say without a

rhythm section to lean back on.

“I wish he had

known how much

he had been

appreciated”

As you say, you do bare your soul and I

don’t want to say ‘hide behind’ because

that seems the wrong way of wording

it. But you are very open and you have a

sense of vulnerability.

Yes, you are right. The same thing applies

for the album because it is very much Phil,

myself and a couple of other talented

people. It is very much stripped-down and

baring your soul.

You have the album title ‘Bare as Bone,

Bright as Blood’. What was the inspiration

for that title?

To be honest, we were chucking titles

around and I think I have to accept responsibility

for that one actually, because it

was Phil and I talking and I just sort of said

‘It has got to be a reference to the album

being down to bare bones.’ We had just

incorporated into it ‘Bright As Blood’ as

that track was written by George Woozy

the bass player from the electric band and

it is him on guitar as well. It captured his

fascination with Roots music, an American,

and was a perfect fit.

Oh, right.

He recorded it and it was going to be part

of an album that never did get released

and we asked him if we could use the song.

Then when ‘Bare As Bone’ hit me, we combined

it with ‘Bright As Blood’ and you’ve

got it. Mark St John and I were thinking

about it and there it came.

From an album artwork/cover point of

view, it certainly lends itself if you wanted

to go down that route. In terms of the

album artwork, was it designed by anyone

in particular or was it approached in a

different way?

What happened was there were a few suggestions

from Richard at the record label

and Mark St John found some photographs

and there were a few ideas. That photograph

came up and I just leapt on that one.

It doesn’t differ too much from the original

idea Richard put out to us.

When I was trying to arrange this interview

I said ‘I want to be able to talk about

the album, the process; and I want to keep

it a balanced chat and really get your

thoughts on it.’

Yeah. (Laughs) Spit it out!

Is there anything about Phil that you

would like to say on record that you feel

you haven’t been able to say or had a

chance to say?

64


DICK TAYLOR | INTERVIEW

I don’t know. He was very much a life-long

friend and it was great that we didn’t live in

each other’s pockets very much. So, I think

that was the secret that we got on so well

and we always managed to get on as we

had very few proper rows which was great.

He was such an amazing singer that when

you work with someone all the while you

kind of forget just how good they are. It

was towards the end of our career together

and I started working with a few other

people and I just started realising just how

people reacted to Phil when they worked

with him. It kind of made me look and realise

what an amazing singer AND character

he was. One of the things I truly wish is

that Phil could have seen all the obituaries

and tributes to him because I don’t think

he realised just how appreciated he was by

so many people. That’s what I wish he had

known - that he was a pretty towering figure

and he didn’t realise it himself. I don’t

know if I can really put it into words.

He was a unique person who could drive

us all mad of course, like most people can! I

wish he had known how much he had been

appreciated.

I spoke to Phil actually because I found his

number and called him when Dad passed.

I think you guys were recording the album

at the time?

We would have been.

He said the line was really bad because

it was windy and rainy. He was on really

good form when I spoke to him.

Yes and a week or so before he died, he

had been as well and happy as he had been

for years which was great. It is a very weird

situation as I think his last few weeks were

very good and he started to realise this

album was quite special. The reaction to it

has been incredibly positive.

No, you are right. I remember when I was

reading tributes for Dad, and as you said,

you and I have been in a similar position

and possible a similar kind of headspace.

I agree with you on that completely, as I

wish he had seen the love that was there

for him.

That’s exactly the same with Phiil, and with

people talking about him afterwards, you

understand how appreciated he was as a

person. Funnily enough, I have just been

reading an interview he did with someone

about his early life and it was gobsmacking.

He had a childhood which almost mirrored

John Lennon’s in its peculiarity because

he was brought up by an aunt and whisked

back away by his mother. It must have been

a pretty traumatic childhood and I only got

to know him when he was sixteen/seventeen

after a lot of this stuff had happened.


BLUES

ROCK

ROYALTY

WORDS: Colin Campbell

PICTURES: Jim Harrington

I got the chance to speak to Joe Bonamassa via Skype call at his

LA home. A really nice guy, we talked about new projects, social

media and others. With a new album, recorded in London,

about to hit the streets, Joe was on top form.

Hey Joe, thanks for taking time out to talk to Blues Matters.

Your new album is called Royal Tea, are you the King or

the Jack?

I’m probably somebody who comes in after the Royal Ceremony

and cleans up the tables.

Does blues matter, how can you keep it relevant and fresh for a

younger generation?

Well, I don’t feel that responsibility any more. I’ve done the same

thing for so long. I have a certain style at this point. Whether the

younger generation latches onto that …I can only do one thing

and be myself. You know we’ve had this conversation about the

blues for twenty years, is it dead? is it relevant? To me, it’s only

relevant to the people it’s relevant to. Is it a mass audience? I

don’t know. The last record I bought and thought, ‘holy shit, I

should have thought of that,’ was Fantastic Negrito from Oakland.

He’s fuckin’ wicked. He’s won two Grammys and I’d never

heard of him. That is a modern take on the blues, very clever

stuff, well written and heartfelt. There’s a guy who will take it to

another direction. It’s great to see!

Similar artists being Gary Clark Junior and Christone

Kingfish Ingram?

Yes, absolutely!

What’s the back story to the new album? It was recorded in

Abbey Road Studios, why was that?

I’ve always wanted to record at Abbey Road in London. We

COVER INTERVIEW | JOE BONAMASSA

started this thing in late June of 2019.

We had the record done, then Anton

Fig, (drummer), broke his foot and Kevin

(Shirley, Producer) was a bit burnt out and

probably needed a break. We couldn’t get

a replacement drummer, we had the studio

time booked, and we were there! We ended

postponing until January. Then Bernie

Marsden, Kevin Shirley and Pete Brown,

we all got together again and camped out

in London for that month. It was fantastic.

It did its job, being in London and immersing

yourself in the British scene made the

record sound British.

For this one you have got Bernie Marsden

on board. What tracks did you both write

on here, and how did you get to know

each other?

I’ve known Bernie for twelve years; met

him at The Royal Albert Hall in 2009.

We’ve been friends ever since. Bernie is a

great writer, he has a great take on things.

I ask him, ‘What would a British guy do

with these chord changes?’ It was the same

when I wrote with Glenn (Hughes). Between

us we wrote the whole record. Jools

Holland and Dave Stewart were involved

as well.

Is there a theme running through

Royal Tea?

It was a bit of ‘a break- up’ record. The title

track, Royal Tea, I owe to Piers Morgan!

On January 8th, I was having breakfast

in the Hotel and there was a thing on the

TV about Harry and Meghan exiting the

Royal family. I had this title I had written

in my book in my backpack - royalty, the

proper spelling. As I went to Abbey Road

to write, I got there and said I’ve got a title

for a song and started writing the chorus. I

had the chords written before I got there.

In the process of heating up a kettle and

having a cup of tea, I came up with Royal

Tea. There you go Bonamassa, that’s why

they give you the big bucks!!

What makes the new album special

to you?

The fact that when we hatched this plan to

go to the UK, camp out and write and try to

get a record that sounds overtly English;

and when I listen to it, I go, mission accomplished!

That’s the most gratifying thing

about the record. I’ll never forget, we were

in a little room in Abbey Road for weeks

writing then we went to Studio A. Every

day we walked through the doors saying

this is our office today. It was great for the

‘headspace’ as they say. It was something

very special to be a part of. It’s in the walls

and the D.N.A. of the building.

Your vocals on this album have great

pitch. Your range seems to have increased.

Have you been working on that?

Thanks! You know, it’s very strange. I was

ill through the whole month of January

when we were recording it. Into the first

part of the tour I knew it was going to be a

bad year for respiratory things. I’m proud

of the vocals on this. Especially the fact

that the twentieth anniversary of my first

record is coming out, and this is bookending

first to last. Even though I rerecorded

the vocals for the rerelease. Listening to

what I sounded like twenty years ago and

now, I’m proud of the improvements I’ve

made. As my hairline recedes, my range

goes up!

What would you say to the twelve year

old Joe Bonamassa?

Don’t change a damned thing, don’t listen

to them! I say that to everyone. Don’t look

back with regrets. Every day you’ve navigated

through has made you the artist you

68


are today, it’s also made you the person

you are today. If I got a bad case of thinkitis

at twelve and said no I won’t do it unless I

can do this. If I don’t make it by thirty I’m

out then I wouldn’t have played the Royal

Albert Hall at age thirty one. If I quit at

thirty I’d never have got it! That was the

beginning of the explosion for me. Truth be

told, you can’t look at it with regrets.

What drives you and what does success

mean to you?

I firmly believe that my best records are

ahead of me. Half the time, I wake up and

think my career is over, the other half, I

feel I have a fighting chance. The truth lies

somewhere in the middle. If it ends tomorrow,

it’s been a good run. I’ve sold eight

million blues albums in twenty years and

toured the world. The songs have touched

people in certain ways. That’s all you can

ask for.

Is there anything you have not

accomplished in music that you

would want to do?

No. At some point it becomes stats! I have

got more blues number ones than anyone

in the Billboard category, so, it really

doesn’t matter. At the end of the day I

know people with multiple Grammys that

can’t sell two hundred seats and wish they

had my career. I’m in a phase of my life

where I just enjoy it. You have to come to

grips with career mortality. Coronavirus

has zoned everybody out.

Reflecting on life, what would you like

your legacy to be?

He came in; he ruffled some feathers and

proved them wrong.

We lost Peter Green, another blues

legend recently. Like Jeff Beck and Eric


COVER INTERVIEW | JOE BONAMASSA

Clapton, was he an influence on your

guitar playing?

Oh yes, and on song writing as well. I interviewed

Bernie Marsden for my interview

show the day before Peter Green died.

During the interview, I thanked Bernie for

always looking in on Peter. He lived alone;

Bernie would make a visit, make sure he

was okay. One of the tragedies is, there

should be four Kings; Beck, Page, Clapton

and Green. He was such a reluctant star.

It was heart-warming to see people paying

tribute to him.

“ The best

records

are in front

of me”

Was Kim Simmonds and Savoy Brown an

influence during your career?

Yes! I’m a fan, Savoy Brown were the

Bluesbreakers in a different way. Kim’s

commitment to blues through fifty plus

years of touring is remarkable. They need

to be said in the same sentence as Rory

Gallagher, Alexis Corner, Robin Trower.

They were at the start of the movement.

Was this the music your father listened to?

He loved rock and blues. He loved Alvin

Lee. Last time we played The Royal Albert

Hall I asked dad to come backstage for

something to show him. I handed Alvin

Lee’s 335 guitar, the family had brought

me it to look at. He couldn’t believe it. He

loved high energy up-tempo stuff, Ten

Years After and Foghat, and Cactus.

Do you think playing music live will ever

be the same after this pandemic?

Yes, just not in the time-frame people

think. Realistically, as a pragmatist and

business owner, you have to plan for 2022.

That gives it time to wade through ‘crazy’

and conspiracy theories and all the nonsense.

The vaccine will take place, so many

mitigating circumstances. Also consumer

confidence will take a hit.

What’s been your best advice musically

and by whom?

Best advice musically would be Glenn

Hughes. He said, ‘Sing Joseph, you have a

good voice.’ Coming from him that means

a lot. Career wise advice, ‘Shut up and play

your guitar.’

What’s your definition of a guitar geek?

You’re looking at him! I’m in a house full

of guitars. This is not the décor of Nigella

Lawson’s home and family environment.

You walk into my place in L.A. you know

who owns it.

How important is the use of social media

in music these days?

Here’s the deal. It’s a necessity, in its

purest form, to reach fans all around the

globe. It allows people to advertise their

product and their tours basically for free.

It also allows people that have no business,

to have a fucking opinion to have one. I

started Instagram when it was a new platform.

I started posting pictures of guitars,

I warned everybody. If I find a cool one I’ll

put on a video whatever. Now I’m getting

advice from people who really shouldn’t

be giving advice about how to better the

70


JOE BONAMASSA | COVER INTERVIEW

mic into the amplifier! I said I take miking

of amps seriously when I’m in Abbey Road,

when I’m on the stage. A one minute video

on Instagram is not a career referendum.

It’s giving voice to a loud minority of people

that feel they have a seat at the table.

Guess what? The real table has no chairs

for them. There’s always people who say

they can do it better. Maybe on Instagram

but get on stage with a real Pro who has

been up there 10,000 times, you’ll find

your social experiment has not served you

well. If you don’t like something, unfollow

it! It’s not made us better as people. I’ll

post disinformation sometimes, I’m old

style CIA!

Talk about your project Keeping The

Blues Alive and road testing the new

album via live stream in September?

That’s the whole tour! No people, one gig

at The Ryman Theatre, goodbye! We came

up with the idea of Fuelling Musicians.

When I was a kid, we would dead-head

from Tulsa to Oklahoma and it cost 1000

dollars and 500 dollars fuel. That’s what

we’re giving away. We’ve raised almost

300,000 dollars. We give that away as

soon as it comes in. We’ve had corporate

people like Volkswagen joining, Gibson, the

list goes. Charity always starts at home, so

yours truly kicked in with money. It’s the

right thing to do. Blues acts had their year

planned and banking on these gigs. They

got the rug ripped up like us all.

Anything you have not told your

fans about that they would not

know about you?

I’m the biggest Bruce Hornsby fan in the

world. The best records are in front of

me.This one proves it. I feel I’m writing and

singing the best I have. Whether there’s an

audience for that I don’t know.

Finally, what have you missed most about

being in lockdown with this pandemic?

Travelling. In twenty years I have friends

all over the world. I miss the road crew and

the band; I know they are having a hard

time. I miss the intimacy of a show. It’s

a symbiotic relationship with the audience.

You’re not going to get that in a live

stream. The crowd is that extra twenty

percent.

Thanks a lot Joe!

Appreciated Colin, stay safe.

Joe Bonamassa’s new album “Royal Tea” is

released by Provogue/J&R Adventures on

October 23rd.

Further info

www.mascotlabelgroup.com

and www.jbonamassa.com

DISCOGRAPHY

• Royal Tea 2020

• New Day Today 2020

• Live At Sydney Opera House 2019

• Redemption 2018

• British Blues Explosion Live 2018


KIRK FLETCHER | INTERVIEW

RIDING THE

BLUES PATHWAY

WORDS: Steve Yourglivch

PICTURES: Rick Gould

Kirk Fletcher is well known to UK blues

fans following regular tours here in the

past few years.

He has built a reputation as a bona fide

blues guitarist of the highest order

including stints with bands The Mannish

Boys and three years with The Fabulous

Thunderbirds. He counts Joe Bonamassa

among his fans and has performed numerous

times alongside Joe. My Blues Pathway

will be Kirks fifth solo studio album

and includes co-writes with legendary

Robert Cray bassist Richard Cousins. Now

based in Switzerland, I caught up with Kirk

via the phone to talk about the forthcoming

release.

Hi Kirk, how are you keeping?

Steve, I’m good man. Nice to speak to

you again.

How long have you been based in Switzerland?

I know Richard Cousins has been

out there for ages and he collaborated on

a couple of the album tracks.

Yeah, me and Richard are close neighbours.

I’ve been here between three and

four years now. I like it, it was a bit of a

culture shock after Los Angeles.

I’ve been listening to the new album, you

must be really pleased with it.

Yeah, it was a lot of fun to do, I wanted

to get back to some more bluesier-based

things. After doing all sorts of things and

playing different music it was great to just

get back together with friends and just

play some blues.

Where did you record it?

It was recorded in LA. I wanted to work

with David Kida on drums whom I’ve

known for 25 years plus and another

old pal Travis Carlton on bass. All of the

musicians are people I’ve played with a lot

so the chemistry was there very quickly.

We did all the basic tracks all together

live in the studio in LA. A few tracks were

recorded separately with Lemar Carter on

drums. I did a couple of vocal takes and a

couple of guitar overdubs but it’s pretty

much all live.

The opening track, Ain’t No Cure For The

Downhearted, has a lovely soulful vocal

and vibe throughout.

It took me a little while to write that song.

I took my time because I really wanted to

express myself on that. That line Aint No

Cure For The Downhearted, I just love

that because it marries up the whole blues

subject. I wanted to express that in an up

to date story. Originally, I did it slightly different

but I was listening to a lot of Robert

Cray, and I’d co-written it with Richard,

and I thought about how to get the mes-


INTERVIEW | KIRK FLETCHER

sage across playing it live. So, I stripped it

down and made it little more direct.

It’s interesting that you mention Robert

because apart from the last track, which

is almost old-style raw blues, I sense a

Cray vibe but also Albert Collins.

Well that’s great because I wanted to

come from that Robert Cray 80’s Chicago

blues. They are the most exciting fun

things for me to play.

“rhythm guitar is

something that’s

really important”

You know I think that era when Alligator

Records first came along and recorded

those Chicago guys often gets overlooked

but contains some outstanding

records. You’ve got a track written by

A.C. Reed on the album, first time I ever

heard him was with Son Seals.

Yeeeahh! Oh yeah, I love A.C.Reed and

Son Seals. That’s funny you say that

because when I first heard blues I was

13, around 1988, and it was so exciting.

That blend of Chicago blues with funky

stuff and storytelling songs. It really had

an effect on me so I wanted to go in that

direction, and it’s really a fun direction

because you can write about whatever

you want in a way.

Struggle For Grace - that’s a

wonderful song.

Oh yeah, that’s an original I wrote based

on The Thrill Is Gone. Everybody plays

that and I wanted to bring it into the 21st

Century. With blues people, sometimes

take the music to other songs that they’ve

heard. I’m really conscious about introducing

fresh subject matter, fresh things to

think about.

Lyrically I’ve picked up a theme

about greed and how it impacts on

society today.

Yeah, it’s funny cos I didn’t think consciously

about that until I heard all the

songs together as a whole. I guess that’s

where my head was at pre-pandemic. Actually,

listening now, some sound like they

were written during the pandemic.

The big ballad, Love Is More Than A

Word, that’s a powerful track.

Thank you so much. I was listening to a

friend talking about his situation and his

marriage at that time. It was so moving

to me. I kept that phrase in my head. I’m

at a stage now where I think about songs

more. When I hear people say stuff, I’m

like, how can I make that into a song?

Richard is a great songwriter, maybe he

gets overlooked for his writing.

Oh yes, for sure. He was so easy to work

with. It’s like we were long lost friends. In

a way we are through the music, I mean I

grew up listening to Robert Cray playing

songs he had collaborated on, hearing his

bass playing my whole life. It felt like we’d

known each other for years.

The next track, Rather Fight Than Switch,

contains a great solo.

74


KIRK FLETCHER | INTERVIEW

Oh my, that was my homage to Buddy Guy.

I wanted to do that cover for a long time.

I was going to put it on a previous record

but never got around to it. This felt like the

right time to do it.

Alongside Fattening Frogs For Snakes,

the Sonny Boy Williamson song, they

almost sends out the same message.

Absolutely. I couldn’t agree more. I’m

glad you said that. Those messages are

timeless. I really do believe that song

takes on a whole new meaning today and

remains relevant. Maybe the times change

but people and what we need as people

really doesn’t change that much.

We wanna feel loved.

Tell us a bit about

Heart So Heavy.

That was just my

way of bringing

that classic subject

matter up. To have

a flow of blues to

talk about the

things everybody

can relate

to. A classic

blues love story

with lines

like, you said

you’d wear

my wedding

ring, and,

my hearts

so heavy.

They remind

me of old

blues songs and

I’m trying to make them fit

into now.

What I find interesting is that you

DISCOGRAPHY

• My Blues Pathway 2020

• Hold On 2018

• Burning Blues (Live) 2014

• My Turn 2010

• Shades Of Blue 2003

• I’m Here And I’m Gone 1999

www.bluesmatters.com ISSUE 116

BLUES MATTERS!

75

INTERVIEW | KIRK FLETCHER

have a great reputation as a guitarist but

the covers you choose to do aren’t usually

written by guitarists.

I hadn’t really thought about that until you

just mentioned it. I don’t really listen to

too much guitar music these days. Earlier

in my life I did but now I get moved by

old blues records like Sonny Boy, Bobby

Bland, you know that kind of ties the vocal

and guitar together. And they tell a story.

I remember we spoke in the past and

you told me that when you were in The

Fabulous Thunderbirds you started to

dig deep into the blues and discovered

people like Bukka White.

Oh yes. I love Bukka White. The skill is

making those songs more modern without

making them rock-blues or something.

There are other ways apart from using

rock to make an impression. I enjoy rockblues

but I like to take a different angle

and not be so locked into it.

Talking about great rock-blues players

you cover a Chris Cain track, Place In This

World Somewhere.

Oh man, he’s one of my dear friends and

I’ve always loved his songs. He can always

add a sense of humour but then like that

song you can really feel the situation people

are in. I love that song, everything is

just right. Chris has a new record coming

out soon with Alligator so that’s exciting.

D is for Denny is your tribute to Denny

Freeman. He was an important part of

your journey.

Oh yeah. He was from Dallas and he was

in a lot of bands with Stevie and Jimmie

Vaughan. He played with Taj Mahal and

Bob Dylan. He was a Texas music institution.

I really dig that whole Texas sound,

T.Bone Walker, Johnny Guitar Watson,

Gatemouth Brown, Lightnin’ Slim, all

those guys.

Another one who gets sadly overlooked

is Dusty Hill, Rocky Hill’s brother.

Wow, yeah ! He really was tremendous

and your right he does get overlooked.

I mentioned earlier, you finish the album

with Life Gave Me A Dirty Deal, a kinda

raw, deep, down dirty blues with Charlie

Musselwhite and Josh Smith.

That was written by Juke Boy Bonner. I really

like Juke Boy Bonner and I think it was

Denny Freeman who first told me about

him. It was a whole lotta fun doing that.

It was pretty straight ahead and easy to

record. I called Charlie and he was totally

up for it. He worked with Juke Boy and I

worked with Charlie for maybe two years

in the early 2000s.

In a lot of the bands you were involved

with in the early days you were rhythm

guitarist. Would you say that’s shaped

your style today?

For sure, in every way from song-writing

to producing my own music. Everything,

the rhythm guitar is something that’s really

important, just knowing how it works

with the rhythm section. I often come up

with parts in my writing from a rhythm

guitar viewpoint. I feel it’s had a profound

effect for sure.

The album is due for release on 25th September

so let’s hope by then you can get

out and perform again. Thanks for talking

about it and good luck with it, Kirk.

Your very welcome, it’s been a pleasure.

www.kirkfletcherband.com

76


ALLMAN

BETTS

BAND

BUILDING ON A LEGACY

WORDS: John Mitchell

PICTURES: Supplied

DEVON ALLMAN | INTERVIEW

Blues Matters! caught up with Devon

Allman at his home in St Louis, Missouri,

to discuss the new album from the Allman

Betts Band, Bless Your Heart. We started

with some insights about how the band

came into being.

Did you and Duane know each other

as children, as sons of Allman Brothers

members?

In 1989 the Brothers did a twentieth

anniversary tour and, aged 17, I travelled

with my Dad. Duane was there too, with

his Dad, and we got close. Duane’s a bit

younger than me, he must have been

thirteen then. Hanging out with the band,

watching them play every night, was great

and on the last night I got to sing some

harmonies on ‘Midnight Rider’ - it was an

epiphany, made me realise exactly what

I wanted to do with my life. Duane and I

have been friends ever since; we always

expected to do something together, I don’t

know, maybe record a single, do some live

gigs, but when we sat down to write songs

together something really gelled and

we said to ourselves, hey, maybe this

is something more than just a passing

moment.

How did you choose the other guys

in the band?

Well, first of all we said, man, if

we are going to do this there is

only one guy to play bass and

that’s Berry (Duane Oakley, son

of original ABB bassist Berry

Oakley)! We both knew Berry

through the Allmans family and

he is a badass bass player, as well as

a sweet guy. Plus, he sings and writes

songs! John Lum and R Scott Bryan were

both playing in my band, so we moved

them right across to the drum and percussion

section; John Ginty, I knew from

working on a TV project years ago (that

one went nowhere!) when he was the musical

director; John’s a fantastic B3 player

and absolutely adores all the old Allman

Brothers stuff which he plays as if Dad was

on the bandstand! Johnny Strachela I have

known for even longer, he’s a superb slide

player.

Where are the band members based and

does geography make rehearsals difficult?

John, Scott and I are in St Louis, Duane and

Johnny are in LA, Berry is in Florida and

John is in New Jersey, so we really cover

the country! For rehearsals everyone

comes to St Louis, it’s central and I have

some guest rooms here. We always do

three intensive days, eight hours at a time,

really dig into the playing. Plus, when on

tour we reflect on each show immediately

afterwards, sort out anything we want to

change, and use the soundchecks to put

that into practice. We like to start and

finish the shows with well-worked sections

and keep the middle part fluid, shift things

around, change the songs there. At the moment

we are planning to mix new material

with a few classics and retain some songs

from our first album; I think that ‘Down to

The River’ will remain in the set forever!

Turning to the new album, are all the slide

parts played by Johnny Strachela?

Absolutely! Johnny is a monster slide player

and he gets great tone on everything

he plays, so we let him loose on all those

elements of the songs. Some people think

that three guitarists in a band is too many,

but I think we all contribute some different

stuff to the mix and we each have different

strengths. Can’t have too many guitar

pickers!


INTERVIEW | DEVON ALLMAN

‘Savannah’s Dream’, the long instrumental,

is wonderful – but is it there to please

old ABB fans like me, or does it serve

another purpose?

I guess that if you grow up under Dickey

Bett’s influence the seed for a tune like

that is planted early! Duane came with

some cool guitar lines and we all joined

in to make it what it is. I have had instrumentals

on most of my solo albums and

this one is, inevitably, a nod to our Dads,

but not a mechanical ‘Allmans by numbers’

approach.

Several songs seem autobiographical.

‘Magnolia Road’ definitely is but the

strange thing is that that one is solely

Vaughan Stoll’s work! Vaughan collaborated

with us on several songs (as he did

on the first album); I guess he just listened

to Duane and I talking and jumped into

our realm so it really sounds authentic but

we did not write it! ‘Rivers Run’ is Duane’s

tune – I love that song, it has a real depth

of innocence, Duane really excelled himself

there! ‘Southern Rain’ is mine and it’s

the most personal song I’ve shared with

listeners. It’s really deep for me, when I

approach the mic to sing it I can feel my

Dad looking down at me.

‘Carolina Song’ seems almost

confessional.

Well, Duane and I have both been sober

for some years, we left that craziness behind

us and decided to concentrate on the

positives in life. So, yes, the song touches

on those aspects of life. Funny thing is we

had the verses, a wordless chorus and no

title! Normally the title emerges from the

chorus and hooks you in, but we had neither!

We were on tour in North Carolina,

working on the song with no success when

the light bulb went on and we said, “why

not sing it to the whole state!”. So, we did;

used where we were to complete the song.

To be fair, what makes it really work is the

incredible vocals from Reba Russell and

Susan Marshall on the chorus; it’s just the

two of them but recorded, like, four times

over so it sounds like a whole female choir!

You have released the opening

track ‘Pale Horse Rider’ as

a single. It sounds great but

what is it about?

Ha! You might well ask! We

went out on a limb there. Duane

had a huge guitar riff and

I added a sort of cowboy feel

and the words started to flow

about a dude who is pissed at

life and everybody, looking

for some solitude in a busy

world. So, we had these images

of almost an old Western

movie but, again, no title. I was

reading a book at the time by

Piers Anthony called On A Pale

80


DEVON ALLMAN | INTERVIEW

Horse and the title came from there because

it sort-of fitted the mood of the song.

The album as a whole has quite a Southern

vibe, plus that yearning for a simpler time

which acts as something of a common

thread. Yet, at the same time we are not

looking at a sweet, sickly tone here, so the

album title has a kind of double meaning

in that the phrase Bless Your Heart can

be used like your old grandma might say

to a child or, as it is also used, as a kind of

‘middle finger’ remark full of sarcasm.

The last three songs on the album seem

rather different in style.

Yes, those three are different and that’s

really why we put them at the end of the

album. They don’t signal a new direction

for the band but they do show what a versatile

unit we have here. I wanted to try a

deeper voice on ‘Much Obliged’. Initially it

was a sort of tongue-in-cheek Johnny Cash

voice but when I got going I found it quite

natural; my speaking voice is pretty deep

and I usually sing in a lighter voice but here

it’s a full, deep baritone! The song has lots

of country influences and, of course, gives

the album its title. Then Berry brought in

‘The Doctor’s Daughter’ and we all said,

wow, that has a Pink Floyd feel. Duane and

I are massive Floyd fans so it was an ideal

opportunity to blend our inner David Gilmour’s

with the sparse feel of the opening

section. I think that one really shows how

many colours this band can produce. ‘Congratulations’

is Cisco Adler’s song. Cisco

is the son of record and movie mogul Lou

Adler. We’ve been friends for years and he

is a multi-talented guy who, amongst his

many talents, writes songs. This one has a

real roots/Americana feel and makes a nice

close to the album.

Lots of big guitars on this album. Apart

from the obvious family influences, who

are your guitar heroes?

Both Duane and I are huge fans of Gilmour,

Knopfler and Richards! A few years ago

Duane and I drove 300 miles to catch

Mark Knopfler in Kansas and he didn’t

play ‘Sultans Of Swing’! I was gutted, man!

But he did play some other Dire Straits

classics, so we forgave him! For me the

Stones are the ultimate band to look up

to: been at the top of their game forever,

always willing to push the envelope, able to

add distinct flavours to their music when

it’s right, blues, reggae, soul, rock and roll,

they can do it all! On the album we had Art

Edmaiston from Memphis play sax on ‘King

Crawler’ and I closed my eyes and thought

I was back on the Voodoo Lounge tour, listening

to Bobby Keys! Art is a tremendous

player, we were lucky to have his contribution.

Personally, I love BB King, Curtis

Mayfield, Grant Green and I also listen to

a lot of horn players, especially jazz guys. I

find myself increasingly listening to Miles,

Coltrane, Monk, I’m getting very into jazz,

man!

Maybe a solo jazz album from Devon

Allman next?

I don’t know about that! Ha, ha!

Devon, thanks for your time and for a

really pleasant and interesting interview.

Thanks, man. I hope we can get across the

pond before too long to play for you guys

in the UK.

www.allmanbettsband.com

DISCOGRAPHY

• Bless Your Heart 2020

• Down to the River. 2019


PROUDLY CELEBRATING THE BLUES SINCE 1980

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BETTE SMITH

THE GOOD THE BAD AND THE BETTE

RUF 1284

“Bette is the swaggering proof that

there is nothing dated about soulful

rock and roll sung with attitude, defiance,

and a take-no-prisoners aesthetic.“

- American Songwriter

“Bette is capable of breaking off a

high note with a throaty cry or scraping

so low and wide that she threatens

to put her bass player out of

work.“

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JEREMIAH JOHNSON

UNEMPLOYED HIGHLY ANNOYED

RUF 1285

“I think we caught lightning in a

bottle with this snapshot of these

difficult times and it is possibly my

best record of my career, born from

the most challenging time in my life

as a musician.“

- Jeremiah Johnson

“The record puts Johnson’s love for

old-school songcraft at the center of

the action and contains a seemingly

endless series of memorable tracks,

which are enhanced by his considerable

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THE RAGTIME RUMOURS

ABANDON SHIP

RUF 1282

“Rules are there to be broken. Genres

are there to be blurred. But it

all starts with timeless songwriting

and virtuoso playing. Blues purists

be damned. Abandon Ship is music without

limits, for listeners without

blinkers.“

- bluesmagazine.nl

www.rufrecords.de | www.propermusicgroup.com

NEW SOULFUL AND

COMPELLING ALBUM

WITH SPECIAL GUEST

BLUES LEGEND

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“... one of the best Blues Guitar

players in the world.”

Joe Bonamassa

“Few are more at home with the

blues than Kirk Fletcher.

... that’s the mark of a true

master of the blues.”

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out now

Available on CD and

Limited Edition PURPLE vinyl!

INTERVIEW | MALAYA BLUE

MALAYA BLUE

A RISING STAR IN THE EAST

WORDS: Steve Banks

PICTURES: Laurence Harvey

A lot has happened for Malaya Blue since

Blues Matters! featured her in a Blue

Blood article back in 2014. Steve Banks

was lucky enough to interview her to

discuss her progress and her latest album

release, ‘Still.’

How are you? It’s a shame I can’t interview

you in person, Norwich is a great

place.

Yes, Norwich has such a great vibe, a great

culture of music. There’s an excellent arts

creative mentality inside Norwich.

Any favourite venues?

Norwich Arts Centre is an excellent venue.

There’s just loads; it would be unfair to

name any one particular place.

You recorded the new album at Ashwood

Studios in Norwich.

It was fantastic. The boys were outstanding

on the week we were in the studio. I

had the worst cold I’ve ever experienced.

(It was probably Covid!) I felt so ill that

week, but the boys were fantastic

And you did your own backing vocals?

I did all the vocals on the album.

Everything you hear that’s vocal is me,

in one form or another. I tried to stay

away from the temptation to do lots of

multi-tracking.

The vocals have come across crystal

clear. You’ve definitely got your messages

across on the new CD.

Great! That was the plan.

It’s been a while since “Heartsick” was

released. How long in preparation was

“Still”?

It’s been 2 years, probably slightly longer,

from the initial contact with Dennis and

you know I have to take my hat off to

Steve, my manager, because when we first

started working with Dennis the immediate

response was ‘Ok, so were going to

crack on with the new album, let’s set a

date, let’s set a release date 18 months

away in the book and let’s go for it,’ and I

quite quickly realised that firstly, Dennis

was not going to be rushed and secondly,

I was back ‘in school’ and I didn’t want to

rush the process. I mean Dennis Walker;

It’s Dennis Walker, so I’m not going to

84



rush through the lessons that he can

potentially teach me.

Dennis has produced for Robert Cray?

Yeah, Robert Cray, BB King and Bettye

LaVette and lots of other big names. I

think when Dennis said he was going to

start working with me, Steve and I kind

of looked at each other and went ‘Maybe

he’s making a mistake. He’s never worked

with a UK artist.’ This is Dennis Walker,

who walks with the stars, he’s got 3

Grammys, he’s worked with these huge

blues artists. The first time we spoke to

him on Skype I literally was a bit starstruck.

I was a little bit speechless and a

little bit apologetic. And asked ‘Are you

sure this is OK?’ Do you know, he

never asked for anything.

That’s fantastic

Yes, that is fantastic. And, you

know, even on the tracks that

were collaborations, for example

‘Down To The Bone,’ which

was a collaboration with Brett

Lucas, I said to Dennis, ‘The

way I’ve always kind of done

it everyone gets an equal

split, irrespective of how

much they put in, because

it’s tough enough out there

without grabbing 80% and

giving somebody 20. So, if

you’ve made a contribution,

everyone should get

an equal share.’ and he was

down with that as well. He

was well within his rights

to say, you know, ‘I want

this and I want that,’ but

he’s a very unassuming

generous, kind man.

86


MALAYA BLUE | INTERVIEW

Speaking of celebrities, you also had

Robert Cray’s bassman, Richard Cousins.

Can you believe it? Richard sent the track

‘Still’ to Steve somewhere in the early

point of us talking about this third album

and one day I was sitting at my desk

listening to it and I thought this is such a

fantastic track and he said well, Richard

Cousins wants you to record it. He’d written

it for Robert Cray, but he said I think

Malaya could do a really good job with

this. It’s about a divorced couple who are

having a bit of a vibe between them, an

unspoken connection

You’ve raised the topic. I noticed that the

album seems to be about relationships.

That’s why we kind of went for the pink

and the blue songs. It’s the dichotomy

of love. The idea that love, who said it?

‘There’s so much in life that is average and

love shouldn’t be one of them.’ Love can

be heart-breaking, if we go to Down To

The Bone, where it’s as bad as it’s going to

get. Then you’ve got the gospel track Why

Is Peace So Hard? It’s the metaphor for

love with the relationship between the

mother and the son.

It’s definitely got a “churchy” feel!

Oh, it’s very gospel and it was designed

to be gospel, absolutely. Stevie Watts did

a fantastic job with the Hammond. The

whole vibe of that track is wonderful and

so heartfelt.

It’s a very sad track.

It is very sad; and, actually, the first time I

sang it in the studio I just burst into tears.

I’m still not sure how I’m ever going to deliver

that one live. I’m very connected to

these words and these songs and it puts a

real lump in my throat.

Did anything in particular inspire that

track?

This is the backstory from Dennis. He

used to play the bugle when the boys

came home. He would play the Last Post

as the bodies came off the plane. In the

end he just had to retire; he couldn’t cope

with the anguish he was witnessing. And

so Why Is Peace So Hard? is that story.

And then you have a track like Hot Love,

which is about physical love.

There are a couple of tracks more about

the physical rather than the emotional.

As song writers, we are naughty, because

love is such a broad subject to work

around. I wanted to address it in all its

different forms.

Kiss My Troubles Away also follows a

similar theme?

Absolutely, yeah. Hot Love has a woman

saying ‘I’m bored and tired of you just taking

me for granted and I want something

else. I want the fire that comes with the

hot love.’

And Love of Your Life?

This is a beautiful song. (Can I say that?)

Someone will say ‘you are the love of my

life’ and Love Of Your Life is retrospective.

It’s a kind of play on words. I tried to be

very descriptive on this one, the idea of

the clouds breaking and getting to the

edge of a cold beach

Is it difficult to launch a new product in

these times?

We’ve basically done everything we

would normally do, except we can’t back

it up with a live album launch and live gigs,

but the need for live music or the need

for new music has never been stronger;



because we can’t get out and we can’t play

or go and watch other bands, the idea of

something new coming in the pipeline,

something exciting to look forward to,

a new album by an artist that you like

(me or anybody) is keeping us alive and

excited about what’s going on. What we

are planning to do in a couple of weeks

is we’ve got Nat coming to my house and

we’re going to do some videos for the

tracks, just acoustic. Just so we’ve got

a live-lounge feel going on and we’ll be

posting those up one a month, maybe as

the album is rolling out, just so there’s

some new content, we can’t be out gigging

live, unfortunately, but we can still put

something together for the fans.

Sounds like you have plans, despite the

situation.

Yes, you have to just box a different way,

don’t you? Find a different way to make

contact. This is, I guess, where social

media comes to the fore.

Talking of media, on Bluestownmusic

Radio Station you were played between

the Allman Betts band and Deep Purple.

Where do you think you sit in the blues

spectrum?

Oh, you know, this is a tough one! I often

worry that I’m not bluesy enough. I’m not

quite as gravelly as some of the girls and a

little bit more easy listening, a bit smoother,

maybe. But I think there’s space for

everybody, isn’t there? All I can bring is

my MB vibe and not everyone will like me,

but some people will love and adore me

and think it’s great and others will be on

the fence. I think like most songwriters, I

try to write honest songs.

No, you’ve just got to be who you are!

Absolutely, I can only do what I do.

Are there any positive things to come

from the lockdown?

I suppose not having to book up a whole

load of gigs; in complete contrast to what

I’ve just said about not being able to get

out, one of the pressures that comes with

releasing an album is that you’ve gotta get

on the phone, ring venues, gotta try and

get bookings, coordinate a band, who are

9 times out of 10 playing for lots of other

people and have lots of other commitments

and it is really, really challenging.

On top of that you leave at 1 0’clock in

the afternoon and get back at 3 o’clock

in the morning. Your gig is 7 till 11 and

as much as you love it, it is exhausting. I

suppose the only positive aspect is that

it has removed the pressure to promote,

physically promote, which means more

time to think about social platforms and

other things and because people aren’t

going out and going to see the bands they

would normally see, it’s broken patterns

of behaviour and there’s more time for

them to explore artists they’ve not met

before.

I’ve found that myself.

Yes, there’s been a lot more time to say

‘Yes, let’s just give this a listen, I wonder

what that’s like’ and so maybe we’ve got

a slightly wider platform, because the big

guys aren’t out getting the attention (that

they obviously deserve!) but because

they can’t be out gigging, there’s a little bit

more space for us other artists.

Thanks for your time and good luck with

your album release. I hope it goes well.

88


New Album

August 28 th

2020

BE AUTHENTIC

AN INTERVIEW WITH KAT RIGGINS

WORDS: Colin Campbell

PICTURES: Sebastian Santiago and supplied

KAT RIGGINS | INTERVIEW

Kat Riggins travels the world with her

mission to help keep the blues genre alive

through her Blues Revival Movement.

Here she talks candidly about this and

other subjects close to her heart.

Hi Kat, how are you, where are you today?

I’m at home, in Miami in the comfort of my

living room and still in my pyjamas!

How are you coping during this pandemic

time?

Just trying to keep creative. I’m itching to

get back on stage. I’m sharing live streams.

I’m painting, writing and trying to keep my

mind sane.

What do you miss most of all at this time?

I love hugs; I’m a hugger, even at gigs. I miss

them, I miss my band, but mostly all the

hugs.

You’ve just brought out a new single

called Cry Out, how did this come about?

This is a song I wrote last year. It’s about

everything that is current. I have to “man

up” and say how I feel. I was nervous about

recording this. My fear was I may lose

some fans. But I decided the fans who

really know me, they support me for who

I am and already know how I feel. Here in

America, a lot who grew up in urban areas

had a “It’s none of our business attitude”

thing. This song is saying, it needs to be

said, Cry Out! If we continue to stay silent

about all the injustices, of race and gender…

it’s a song that unfortunately will stay

relevant into 2030. It’s about speaking out

about things that make you sick to your

stomach. The new album will be released

in late summer, hopefully.

You’ve recently signed to a new record

label, what’s it been like working with

Mike Zito as a producer?

I loved it. I’ve always been an independent

artist, so being signed by a label, especially

Gulf Coast Records; I feel it’s the perfect

introduction for me to the world of being

a signed artist. It leaves me room to focus

on my art. Working with Mike Zito is like

being in high school again. You’re with your

homeboys and laughing all day. I wrote all

the songs on the album.

“If you have

a stage,

you have a

responsibility!”

What was the process like for cutting

your new release?

A whirlwind! A month before we went

into the studio, we knew about the record

deal. We met up in Memphis and it took

three days to do it in the studio! Mike and I

went over it song by song. The fun part was

after we laid down the tracks, we would

go into the control room to listen to them.

We were cool with this, but Mike Zito said

hold on I heard something different and

changed things. It was like watching a magic

show! I always look back on songs I have

done and feel they could have been better.

On, Blues Revival 2016, there are songs to

this day I think could have been better.

How would you describe the music you

play?

I used to say blues fusion. But it’s blues,

just more contemporary in feeling. I love


INTERVIEW | KAT RIGGINS

soul, country and gospel. I respect blues in

its infancy and its purest forms. Authenticity

works for me, when I’m on stage I give it

everything! This especially happens, when

there are younger people in the audience

which happens more in Europe than

America. I try to connect with them on an

individual level, to say I know you are here

and that works because they know I want

to see them again!

Do you come from a musical background?

My family is not musical as in playing

instruments professionally, but there are

musicians in my family. A cousin plays

piano and I have an aunt who is a musical

director at the church. I have a bunch of

cousins and my sister who all sing. We sing

when we meet as a family. My grandparents

had a swimming pool when I was

younger and when the pool was empty

after being cleaned, we would go into the

pool with a tape recorder and record harmonies,

it had great acoustics! I’m the only

professional musician.

Did you go to vocal lessons?

I took vocal lessons in college for a year. It

was classical music, so I had to sing opera

back then. My training comes from the

church; I was in the choir almost all my life.

In rehearsals you learned to blend voices. I

just sing. I would not encourage any singer

to follow my techniques, they are probably

not healthy, one of my vocal warmups is a

sip of Johnny Walker Black, but it works

for me!

Who are your musical influences?

So many! Top of the list, Koko Taylor, I hear

myself in her. Hearing her voice and Tina

Turner’s, Janis Joplin, Betty Wright, Gladys

Knight, they all inspired me a lot. James

Brown and Sam Cooke. My mother played

lots of his stuff. Tracy Chapman’s writing

inspired me, the list is endless. The musical

gift came from my father’s side. My mother

always had music playing. We used to jam

to, Salt N’ Pepper, hip hop. Chubby Checker

and Little Richard were played a lot. I’m

a huge rocker, I loved Steven Tyler’s vocals

and then got obsessed with Janet Jackson.

What is the best advice musically you

have had?

I knew I wanted to be a singer but didn’t

think it was a realistic dream. There was

a school pageant on when I was thirteen

92


KAT RIGGINS | INTERVIEW

and I was assigned a Whitney Houston

song; you know my voice sounds nothing

like hers! She had a controlled voice she

could play like a piano. My voice is rough

and gritty and dirty. My father heard me

rehearsing this song in my bedroom and he

stood and watched me for a while. He was

very calculating in the words he chose. He

said, “You don’t have to sound like Whitney

Houston, she already has that covered,

your voice alone is special enough” and he

closed the door and left it at that. I’m forty

now but from thirteen that is still the best

advice I have ever had.

What’s your take on the blues scene

today in America?

I think it’s better than I thought it was

when I first decided to do this full time. I

didn’t know when I was a bartender what

a big world this little niche of music has.

Seeing younger musicians coming out and

“killing it” like Kingfish and Marquis Knox

and Anita Chambers, these young people

carrying the torch of the blues makes me

hopeful. My hope is it catches on like wild

fire. The reality is it is not as big as it should

be. If we recognise blues as a living thing

it needs to adapt and survive to continue.

We still bleed red; the blues will always

be in our hearts. If we don’t allow some

growth, it will die. I do see the blues revival

growing.

What’s your blues philosophy, what

makes it special for you?

The blues has to be authentic. If someone

fakes it, it won’t work. There is serious

heart behind the blues today. Rawness

in every note played, every lyric written.

Music is a healer; blues in particular is a

heart mender. That’s what the blues means

to me. Blues is the birth of American music.

It’s the umbrella that all other musical

genres fall under.

Is your persona onstage the same as

offstage?

I think it is! I’m asking my wife now. She

doesn’t think so. She thinks my persona

is bigger, but my personality is the same.

Instead of a lightbulb, you are the sun!

There’s a song there!

How do you grab an audience?

I’m there to have a good time and have a

party. Me and my band host this party and

we invite everyone. I go on stage and give

everything. I might cry, my make-up might

run, I might have bruises from playing

the tambourine against my leg but I don’t

care. I’m there to give somebody a smile

or to get them out of the funk they are in.

I go to have a good time and that’s how

the audience reacts. I love all venues but

I adore playing small clubs so I can touch

people. Festivals have energy and I get to

meet more people. In Europe I’ve played


INTERVIEW | KAT RIGGINS

a lot of theatres. That crowd has a built in

“We have to behave” level. At home I feel

they know me more, so I have a different

approach, it’s more like a family atmosphere.

What’s it like in the music business being

a woman in a mostly male dominated

profession?

There are festivals and promoters that

put a few women on but mostly you’ll be

hard pressed to see more than one on

any line up. I see that changing but not

enough. There are so many women in my

circle of blues friends that I feel like their

faces should be everywhere. Their talent

deserves this. I respect men in blues, I love

Eric Gales and Albert Castiglia, he’s my

brother from another mother!

What’s your song writing technique?

I don’t sit down to write a song or schedule

it. When it feels like work to me, then it

doesn’t come naturally. The songs start to

write themselves! I wait for the inspiration.

I write it in a book then record it. If I have

a bass line I will record that vocally. For,

‘In The Boys’ Club’ album, I was hearing

too much of “I’ve never heard of her” and

I wanted people to see there is room for

woman too. ‘Hear Me’ was not supposed

to be on that record, that was for my own

diary, but when people heard me sing it, I

was told to record it. I cry when I sing it on

stage it’s very personal.

What was your first professional gig?

I was in my twenties, still bartending, but

one of the clubs I was working at hired me

to do a residency, a duet with a pianist. We

did jazz and blues standards. It took a while

to get to a point where I needed to focus

on singing as a career.

Any tales from the road you can share?

My first time playing in Europe was at

Blues Alive near Belgium and we were

staying in a hotel that used to be a nunnery.

There was a basement tavern there

and the rooms were decorated as nun’s

quarters, so it was eerie. We got back after

hours and got let into the hotel. The manager

let us stay up as long as we didn’t burn

the place down! The headline band was

John Primer that night, he was awesome.

They came back, they saw us through the

window and the two bands got to hang out

in this pub. We broke into a gospel jam.

Watching John Primer is an opportunity

to study.

What are your future plans?

I want to play the Blues Bender in September

all being well! Also, I would like to

come over to the UK to play!

Finally, is there anything you about yourself

that you’d like to share?

I try to be a peaceful person, loving and

positive. There is a side of me that gets

to a point where I need to say something,

that’s something I have to do. People need

to know, what I say and do, I mean. I want

us all to do better. Fear can grow into ugly

things. People listen to what we say as

artists, we are all alike. If you have a stage,

you have a responsibility!

For further information see

website: www.katriggins.com

DISCOGRAPHY

• Cry Out 2020

• In The Boys Club 2018

• Blues Revival 2016

• Lily Rose 2014

94


Shirley

KING

DAUGHTER

OF THE BLUES

WORDS: Roy Bainton

PICTURES: Airshotsphoto

Roy talks to B.B. King’s

daughter, Shirley King,

celebrating the release

of her new album.

96


SHIRLEY KING | INTERVIEW

Congratulations on the new album. It

must have taken a while to finalize the

songs and recruit all the talented guests.

I am very proud of this album and am excited

to be promoting it. Cleopatra Records in

Los Angeles put together the entire project

for me. I had met the A&R person, John

Lappen, several years ago and we stayed in

touch. John and the label chose the tracks

and I recorded my vocals in Chicago with

my engineer, Ray Vanda. John Lappen

reached out to all of these wonderful guest

artists. It’s an amazing list including Elvin

Bishop, Joe Louis Walker, Martin Barre,

Steve Cropper, Harvey Mandel, Duke

Robillard, and many more. I know some of

them knew my father as well. I will never

forget their willingness to appear on my

album. It means so much to me.

What was family life like growing up in

West Memphis?

I was born in Vincent Arkansas. My mother

lived in Vincent Arkansas and I went to a

school in Crawfordsville Arkansas. Life in

West Memphis was wonderful. There were

all the juke joints and my father would

come and play after being on Beale Street

at the radio station, and his gig would be

in West Memphis right across the river

where my grandmother lived. So we got

a chance to go and visit him over there

and my mom cooked in the juke joints all

over Arkansas so it was wonderful in West

Memphis with my grandmother and my

mother, but I basically lived in Memphis

with my father.

It must have been strange at the age

of seven to discover why your Dad was

rarely home. What did you tell your

friends at school?

I discovered who my father was when I

was about six years old and always heard

people talking about BB King. He worked

all over the south - Arkansas, Missouri

Tennessee - he was famous and well known

in the southern part of the U.S. then, but

he wasn’t famous worldwide. He had radio

exposure in the south. He did jingles for

WDA radio which made him well known

to most people in the south. As BB King’s

daughter people became interested in me.

However, it didn’t help me in places where

people didn’t believe I was BB King’s

daughter. Over time, his music was played

on radio stations throughout the country

and that’s when I knew he was really famous.

When went to see him perform, he’d

be on the stage with other famous people

like Sam Cooke, Jackie Wilson, James

Brown, and others I knew as a kid. Seeing

him in those situations and hearing his music

on the radio helped me to understand

who he was and what he was doing, which

enabled me to explain to kids at school

about why my father was gone so much.

How old were you when you began

singing in the church?

I was about 11 years old. I would go

to church when visiting my mother in

Arkansas. That was one of the best things

I loved to do back then. I’d stay with my

mom and we’d go to church and I’d sing in

the choir. It was always a comfort zone for

me because when I was singing in church

as a kid, people told me I sounded pretty

good. They also recognized the fact that

because of BB King being my father, the

apple hadn’t fallen far from the musical

tree, so to speak. I always got a chance

to sing songs in the church choir and that

helped build my self-esteem and made me

start thinking I did have the talent to sing,

that maybe it would be something I could

continue to do as a career. When I saw the

people shouting and jumping in church


INTERVIEW | SHIRLEY KING

during the music portions of the service

and react positively to my singing, it made

me feel like a superstar.

Did the idea of the music business seem

attractive early on?

I wanted to be in show business as soon as

I began seeing my father on stage. When I

was about 3 1/2 years old I would see him

perform and I’d imagine me doing all of the

stuff I saw him doing his stage act and it

made me feel like that was something that

I would learn how to do. I would go home

and get my cousins to be my audience and

get a brush or comb and make it my mic

and sing to them and watch their reaction

to what I was doing and they would just

laugh and think I was so funny. But they

also encouraged me and told me I had

talent.

How old were you when you

moved to Chicago?

I was about 17 years old when I moved to

Chicago. I came to Chicago to get married

to my boyfriend who I had met in school.

But when I arrived he’d decided to marry

my girlfriend and so I was kind of stuck

in Chicago and didn’t know what I was

going to do. But my father was coming to

Chicago a lot to perform so I didn’t mind

staying because it gave me a chance to see

him. He was being managed in Chicago by

Pervis Spann and worked quite often solo

and with many other great stars. I met all

kinds of people in Chicago so I stayed to

try to make it work out for myself. When I

became a professional dancer and worked

for all the top shows in Chicago, I really

loved it there. Funny enough, my ex-boyfriend

came around later on and told me

he had lost his wife. He came to see me as

a performer and I guess he was wishing he

had treated me right from the beginning.

He told me he made a mistake by marrying

my girlfriend and wished he’d married me

instead!

Chicago must have been an exciting place

back then, when Maxwell Street and the

club scene was at its best.

I arrived in Chicago in March 1967 in one

of the worst snowstorms in its history. But

I enjoyed it because I had never experienced

snow before so it was fun, new and

exciting. Chicago was amazing in the 60s

and 70s... it was the hottest time of my

life! There was so much entertainment

and so many things to do. It was like being

on another planet. I did experience going

down to Maxwell Street. I got a chance to

sing at clubs there and to hang out with

some of the legendary older Bluesman

that were making a name for themselves

at the time. One club in particular where

I started performing and helped to launch

my career was Kingston Mines. So many

great experiences at Kingston Mines to

talk about… I’ve had a whole bunch of

them. That’s where I began as a blues singer.

Performing in blues clubs in Chicago is

where I learned how to build confidence

in my singing and performing. I owe a lot

to Chicago, especially Kingston Mines,

and am thankful they helped give me my

start. I spent some of the greatest years

of my life watching my father at the Regal

Theatre and witnessing him play at Cook

County Jail and Club Delisa, which was

later named the Burning Spear and High

Chaparral. Mister Kelly’s on Rush Street

in Chicago was another great club that

launched a lot of entertainers…singers,

comedians, jazz, blues. Oh, those were

such wonderful times!

Your father must have realized your

vocal talent when he introduced you

98



to Etta James.

Actually, I never met Etta in person but one

time when my son was out on tour with my

father, my son called me from the road on

one of my birthdays and told me he had a

surprise for me. The next thing I know, I’m

on the phone speaking with Etta James! I

just about fainted! (Laughs) She was very

sweet and kind to me on the phone. She

told me she was a big fan of my singing and

of my career. She was probably just kidding

with me (laughs) but it was still very kind

of her to say that. But I certainly have

always been a fan of Etta and her music.

She was one-of-a-kind and she has been a

big influence.

Who were some of the other female singers

you liked and was inspired by?

Been a female myself I always look forward

to seeing female singers because it’d help

me develop my image in who I was gonna

be and what I was going to do on stage.

Some of the great women in my life were

Koko Taylor, Ruth Brown, Mahalia Jackson

and Big Mama Thornton and Lord knows

Etta James... she’s at the top of the list for

me from the age of 13 up until the end I

always admired how hot she was and her

showmanship on stage. She was unlike any

other entertainer I’d ever seen. She was

the consummate entertainer. She was very

expressive on stage and sometimes they

said she was a little X-rated and I guess

the reason I liked her because sometimes

I’m x-rated too (laughs). She was my idol...

she always was the lady that I could look in

my book and say I want to be just like her

because I thought she was a fabulous lady.

I thought she always looked and sounded

fabulous. My Dad told me she was his

ex-girlfriend. I wish they had gotten married

so she would’ve been my stepmom;

that would have made me happy.

You became a dancer before you took up

full-time music. Did that experience help

you become a solo performer?

Yes being a dancer really helped me on

stage because I always came on with a big

bang and I end my performance with a big

bang. (laughs) Dancing helped put me out

in front of audiences and helped me to develop

my confidence in what I was doing on

stage. The audience seemed to like it and I

know I enjoyed myself. Getting started as a

dancer was part of what got me my first job

at the Kingston Mine in Chicago. I went on

the stage and I was singing and I couldn’t

remember the words to songs because I

wasn’t a blues singer and I did not know

the words to songs so I would kind of make

them up... so one night I was called upon

the stage by my girlfriend who had a job

there and the club owner was sitting there

watching me and I know I had to impress

him because I wanted a job at this famous

Chicago club. Everybody who was anybody

played the Kingston Mines and many

famous people would come there to watch

shows when they weren’t working. So I

went in there with my mind made up to get

this show and to walk out of there being

a part of the Kingston Mines family. I was

singing and I couldn’t get the words right. I

saw the owner getting very frustrated and

watching me struggling trying to do something

I could do and I thought about it so I

just started dancing…right out of the blue

because I was having trouble remembering

the words I was supposed to be singing.

It actually made the crowd go crazy and I

went over to the owner and shook him so

hard, I knocked his glasses off his face and

he hired me on the spot. I loved working

at the Kingston Mines but in order to

keep your job at the club, you had to be

available pretty much all of the time… but

after a year I was traveling overseas a lot


INTERVIEW | SHIRLEY KING

to perform so I had to let the job go. I got

popular because I was BB King’s daughter

and started traveling a lot but it was a wonderful

experience performing at Kingston

Mines. I got a chance to meet many people

and I traveled and I did a lot of wonderful

things so I will always remember to thank

the world-famous Kingston Mines and

what it did for me in my singing career - it

was my first blues job.

Tell us about getting a part as Shirley King

the Body Queen in the movie The Human

Tornado.

I got my part in the movie The Human

Tornado that Rudy Ray Moore produced

because I’d met him in Chicago when I

was dancing at a club called the Grand

Ballroom. He knew the promoter, Fletcher

Weatherspoon, and do shows there for

him and he saw me dance one time and he

just was infatuated with the way I worked

the audience. He was knocked out by my

showmanship

and he told

me he was

“we have to

use our

vocal as an

instrument”

going to make

a movie and

he wanted

me to be in

it. However, I

was pregnant

and I didn’t

think I was going to be able to do it. But,

thankfully, I had my baby in 1975 and his

movie was filmed in 1976 in LA and I had

just had my daughter. Once I realized that

I was going to actually (!) be in the movie

he had to come up with ways to disguise

my stretch marks (laughs) and they filmed

me almost at the beginning of the movie in

my natural environment because dancing

was something that I never was ashamed

of doing. I was so afraid my father would be

mad at me for doing that but once he saw

the movie he loved it. He’d want to watch

it over and over because I was in it, but he

kept losing his copy of the movie. He’d say

to me, ‘Honey, somebody stole my copy

of your movie. Would you please get me

another one?’ He was so very proud of me

being in that movie. I was very honored

that Rudy Ray Moore kept his promise. I

will never forget his kindness for doing so.

Do you think that, as a woman, there’s a

different approach to an audience when

performing blues than as a male singer?

Yes, I do think it is a different approach to

the audience from a man than a woman

when they perform the blues. First of all,

most men play an instrument where most

women are the front person for a band, so

we have to use our vocal as an instrument

and use our body language to help in our

performance. Plus, we are the sexy part

of the show. (Laughs) So I always knew in

my heart that to be a performer was not

just about being a singer, I’d have to be a

performer as well. It helped me growing up

and watching my father and his friends in

the early part of my career as a woman on

stage... you are the centerpiece representing

women and speaking on their behalf

and bringing joy to the audience in our own

feminine ways.

There are many new young blues acts,

bands often fronted by women. Have you

any advice for them based on your long

experience?

For all the young upcoming blues musicians

and artists - female or male - I would

say to all of them... please respect your

craft. Learn it, be professional, and know

that you are only as big as your audience

lets you be. You need to make sure that

you bring them joy. My father told me to

100



always work for your audience like they

are the ones paying you. He taught me to

always do a good job so the people will

want to come back and keep seeing you

perform. I would say to all young people,

respect the craft and please try to bring

more respect to the blues by dressIng like

you are going to the bank to borrow some

money and by being professional ... not

drinking and smoking onstage and just

understand that music is 10% the business

and 90 percent who you are and what you

bring to the stage.

Today’s music scene is radically different

to the one you began in. Beyonce or

Rhianna are dubbed ‘divas’. What do you

make of the Rap/Hip-Hop scene?

I have no problem with hip-hop or some

of the younger artists calling themselves a

diva. I would say a diva, in my definition, is

someone that upholds the tradition of past

great singers and continue going forward

in a professional, respectful manner. I admire

Beyoncé because she is talented and

professional. She is musically versatile and

has tremendous acting ability and she’s

a good dancer I plan on doing a hip-hop

influenced Blues album at some point. I

plan on doing something that is educational

for kids in regards to blues music, and

many other things before I’m done. Maybe

even a southern blues influenced country

and western album because I like country

music. I don’t want to be just one type of

artist... I want to be able to expand into

different styles of music and markets so

my music will sell to a variety of fanbases.

Tell us about your book Love Is King:

What ultimately triggered you to write

the book?

My book, Love Is King, is all about what

I went through when my father got sick

and no longer could take care of himself. I

loved and still love my father very much.

He will always be my hero. I wrote my book

out of respect and love for him. People will

say they love you when you are here but

disrespect you when you are gone and I

saw that happen right in front of my eyes

with some people in regards to my father.

It really hurt because he had been so good

to everybody; especially his family and his

band and the people that worked for him.

Five years later there is still turmoil going

on surrounding his estate - my family is

squabbling over his estate and to some

of them, it’s just about money and not

about our dad. This hurts me because I

remember when my father was struggling

alone to become who he was. He worked

hard, believed in himself and his talent and

eventually rose to the top of his profession.

He was kind and generous with so many

people. Legacy is one that deserves nothing

but respect and love and that’s what I

tried to show him through the writing of

my book. I miss him and think of him every

day. It saddens me deeply that he’s not

here physically but he will always be alive

in my heart and soul.

After Covid-19, might we be seeing you

on tour in the UK and Europe?

Yes, when this virus is over I will continue

to tour in Europe and the UK because

that’s where most I have received most of

my love and support throughout my career.

People in the UK and Europe seem to love

my music and my singing. I am so proud of

the new CD and so proud that the guest

musicians performed on it. And I am thankful

to Blues Matters magazine providing

a voice for blues artists and blues fans

everywhere, and for giving me the chance

to talk with you and share some of my life

and career.


REVIEWS

Albums, DVD’s & Book Reviews

The BIG blues reviews guide - accept no substitute!

KING KING

MAVERICK

Independent

Release number six, for

blues rock outfit King King

with a new line up. So now it

encompasses Alan Nimmo

on lead guitar and vocals, his

brother, Stevie on guitar and

backing vocals. Keeping the

rhythm revving on bass is

Zander Greenshields. Jonny

Dyke is on keyboards and

Andrew Scott on drums. Ever

evolving, here are ten tracks

written by Alan and Stevie.

Emphasis is on the rocky side

of blues genre. Gritty lyrics

and more personal ones in

songs such as End Of The Line,

sees the bands’ softer side.

Gritty opener, Never Give In is

undeniably a classic rock tune

but full of hope. Fire In My

Soul has a catchy anthemic

chorus. Whatever

It Takes To Survive has

heartfelt lyrics and builds up

well, very powerful and soul

searching. I Will Not Fall,

has funky keyboards and a

stated groove throughout,

very upbeat. By Your Side is

a highlight Alan’s vocals and

keyboard accompaniment

slowing the tempo then the

band comes in and really lifts

it up with a guitar solo to

IMAGE: Greame Milne

“Bold, gutsy, refined lyrically,

this release packs a punch”

weep for, so good. One World,

is an optimistic tune with a

catchy tune and hook to it.

Everything Will Be Alright

keeps a rocky tone with a

solid beat and fine harmonies.

When My Winter Comes, is

a slow ballad and feels like a

self-reflecting tune. Dance

Together is another rousing

rocker of a tune, the band really

cranking up things. Bold,

gutsy, refined lyrically, this

release packs a punch. The

band’s future is sky rocketing

on this performance.

COLIN CAMPBELL

102


JOE BONAMASSA

ROYAL TEA

Provogue/ J&R

Adventures

This new album

from Joe was

recorded at

Londons famous

Abbey Road

Studios. Apparently,

the title of the album came to him as he watched

Good Morning Britain that contained a story about

Harry and Meghan. I digress, Joe has drafted in a

few friends to co-write some of the songs on the

album, notably Bernie Marsden, Jools Holland, and

ex Cream lyricist Pete Brown. When One Door

Opens is the first track on the album. Not what

you would normally expect from a Bonamassa

album. Backed by The Boveland Orchestra and

his usual touring band, it’s a more laid-back eerie

approach. Then normal service is resumed halfway

through when Joe kicks in and rocks the pants

off you in typical style. The title -track Royal Tea

is straight out of the Bonamassa back catalogue.

Superb blues with a sprinkling of rock and sublime

backing vocals from Jade and Juanita makes this

just brilliant. Why Does It Take too Long To Say

Goodbye and A Conversation With Alice have both

been earmarked for release as singles, and quite

rightly so. Both songs bring out the very best in

Joe and his by now familiar touring and recording

band. Great lyrics, great arrangement, and

great musicianship. What’s not to like. Savannah

is more of a country/blues tune. Very light and

delicate, showing the softer side of Joe and the

band, but still good enough to remind you who is

playing here. High Class Girl, written with Bernie

Marsden, is my favourite of their collaborations on

the album. The writing partnership of JB and BM

has really worked on the album and for me, this

particular track stands ever so slightly above the

others. I Didn’t Think She Would Do It is a square

between the eys rocker. This has got to feature on

the new live set-list. Lonely Boy finishes the album

in some style. Co-written with Jools Holland and

having Jools on the piano is the icing on the cake.

Once again Joe hits the bullseye with Royal Tea.

Stunning.

STEPHEN HARRISON

RORY GALLAGHER

THE BEST OF RORY

GALLAGHER

UMC

This 2 CD compilation

is a further

testament if it

were needed that

Rory Gallagher was

one of the blues

finest exponents.

What’s Going On kicks off the

album in true blues/rocking style that leads

into a journey of reflection and tribute to a fine

blues musician. RG has had many accolades

thrust upon him over the years right up until his

untimely death. The tracks chosen to adorn this

best-of collection certainly back up those accolades.

Tattoo’d Lady is one of my favourite Rory

tracks. Not only because of the guitar work

but also because his voice is so well suited to

this tune. All Round Man starts with a wailing

blues guitar and wailing vocals that tear right

int your soul. A blues belter that brings out the

best of everything that makes Rory so great.

Calling Card is another particular favourite of

mine. The piano is magical alongside his gritty

vocal that eats away at you with each phrase,

leading into a simply divine guitar solo. Out

“one of the blues

finest exponents”

Of My Mind puts me in mind of country blues.

Don’t be surprised at this because I know that

Rory loved country blues, as shown with his

prowess here. Bad Penny starts the second CD

off. This is the type of tune that is immediately

recognizable as a Rory track. Blues with a hint

of rock. Loanshark Blues has an almost Lay

Down Sally feel to it. But don’t be fooled into

thinking this is a rip-off. It takes on its own

identity with brilliant lyrics and a smattering

of harmonica. A Million Miles Away is simply

magnificent in every possible way. This just had

to be included on a best-of compilation. I Can’t

Get No Satisfaction, recorded with Jerry Lee

Lewis has only recently been found. And what

a gem it is. Jerry Lee on the piano is a godsend

here. Remarkable. Catfish finishes this marvelous

compilation album in fine style. Some best

of releases smack of laziness and mediocrity.

Not this one. Bravo.

STEPHEN HARRISON


REVIEWS | OCT/NOV 2020

REV. GARY DAVIS

SEE WHAT THE LORD HAS

DONE FOR ME - RARE &

UNISSUED RECORDS -

STEFAN GROSSMAN’S

GUITAR WORKSHOP

Independent

“you are certainly getting a lot

of bang for your buck here”

The influence of Rev. Gary Davis on contemporary

music has been far-reaching. The likes

of Bob Dylan, The Rolling Stones, The Grateful

Dead and Keb Mo, can be counted amongst his

fans. Sadly, Davis died in the early 70s, but we

are blessed by the musical legacy which he left

behind. And this latest collection of Rev. Gary’s

work, in particular, focuses on a suite of previously

unreleased, rare and unissued recordings

from between 1968 and 1970. Each of the tracks

on this bumper compilation was recorded at the

Pittsburgh apartment of Ernie Hawkins.

Playing loose in these intimate performances,

Rev. Gary sings with conviction and belief

throughout this remarkable collection of spiritually

tinged blues, gospel, and folk compositions.

Highlights from this bumper body of work

include a ten-minute rendition of Don’t Move

My Bed ‘Til the Holy Ghost Come, two different

versions of the traditional number St James Infirmary

and the title track itself See What The Lord

Has Done For Me. As one of the great purveyors

of acoustic, gospel-tinged blues, these recordings

form an incredible historical reference as well as

giving a remarkable insight into the artist himself

almost fifty years after his passing in 1972.

See What The Lord Has Done For Me will be of

interest to the purists. The release is wonderfully

packaged, spread over 3 disks and features 34

songs and over 3 hours of material. If you are a

fan or interested in the works of Rev. Gary Davis,

you are certainly getting a lot of bang for your

buck here.

ADAM KENNEDY

SWEET BOURBON

BORN A REBEL

Bourbon Records

Blues from Holland, always welcome because

long experience shows that our European friends

are willing to absorb British and American forms

and attitudes, and still sprinkle a little native dust

into the mix. Sweet Bourbon embrace the Stax

/ Atlantic style of gospel-tinged r ‘n’ b sounds,

lots of horns and upfront harmony vocals. After

a quick one-two fast-and-furious openers,

comes the stand-out track on this collection.

The delightful Mrs C, a left-field story told with

some absolutely smoking guitar and understated

Hammond. It proves yet again that the contradiction

of the blues is there to be explored, a

simple basic format framework, with an endless

variation of atmospheres and tones to be laid on

top of it. Next up is a country blues number, and

the appeal of this band, and this album starts to

emerge. They have versatility to burn in terms of

format and delivery, arrangements are chosen to

embrace the overall feel of the lyrics. Fans of European

artists will find, as I do, that people writing

in their second language can often come up

with a better phrase than native composers, as

Chris Janssen does with You have evil moments,

But I want you to stay Muddy Footprints, a ghost

story with some more of that scorching guitar, is

atmospheric and cleverly constructed and delivered.

Sitting On Top Of The World is as classic a

blues as you would wish to find, both musically

and lyrically, and once again that neat turn of

phrase at work, All last summer, worked on this

farm, Had to take Christmas in my overalls … The

final cut is a cheerful jazzy Chet Atkins-esque

twelve-bar, tailor made for the live performances

we all miss so much.

This band is added to the ever-growing list of

outfits I really want to catch live somewhere. In

the mean time I commend this excellent selection

of versatile and clever tunes to everyone who

likes their blues with intelligence and passion.

Watch out for this band.

ANDY HUGHES

104

BLUES MATTERS! ISSUE 116

OCT/NOV 2020 | REVIEWS

GINA SICILIA

LOVE ME MADLY

Blue Elan Records

Not one to be put into a particular singer song

writing category Gina Sicilia’s last album, Heard

The Lie had Americana tones.

Here she takes a more soulful route on her stunning

new release. Eleven songs co-written with

Cody Dickinson who plays most instruments and

his brother Luther guests as well, high calibre

production is noted everywhere here. Opener,

Like The World has Never Seen, features

resounding percussive accompaniment over

acapella vocals. Hey Love, has an almost Stax feel

to it, great horn section and blending harmonies,

multi-layered. Lose My Head, is a love ballad and

blends into For A Little While which has country

“Last song, Answer The

Phone is sung with aching

passion. Gina’s voice would

melt a cold heart”

tones, ala K.D Lang, lovely slide guitar from Luther

makes this special. Gotta Be A Way, has soul

drenched lyrics marrying sharp horn bursts and

rhythm. Misery With You, is a vocal treat, Gina’s

vocals soar over strings and slide guitar. Title

track, Love Me Madly is soulful old style rhythm

and blues, a lovely vibe very soothing. Give It Up,

is atmospheric, vocally the best track, very powerful

and sultry with a real feel for the song.

How my Dreams They Go, is an upbeat tune

that would fill the dance floor, very catchy. Fall

In Love, has soaring vocals over another Stax

sounding arrangement, subtle shades here. Last

song, Answer The Phone is sung with aching

passion. Gina’s voice would melt a cold heart. It’s

the subtle arrangements that make this release a

stand out piece of work.

COLIN CAMPBELL

BOBBY RUSH

RAWER THAN RAW

Deep Rush

Records

Bobby Rush is a

bluesman survivor.

He’s even battled

through recent

demons relating to

Covid 19 scare.

Enough to challenge

anyone, he

has now released

a stunning

stripped down no holds barred authentic blues

album. This bookends his 2007 release, Raw; a more

rootsy effort. This is Bobby laid bare, no showmanship

and eccentricities, just his acoustic guitar,

harmonica, sweet toned vocals and foot tapping.

Outstanding from the opener, Down In Mississippi,

his own tune through to the last cover, Elmore James

song, Dust My Broom. Eleven tracks, incorporating

influences by Skip James, Robert Johnson and Chicago

blues counterparts, Howlin Wolf and Muddy

Waters. The connection and emotional feeling to

the songs is the theme running through. Skip James’

Hard Time lyrics still have meaning especially in

“a stunning stripped down

no holds barred authentic

blues album”

this world pandemic. Let Me In Your House, an

original, about unrequited love, a stomping tune

about “wanting to be your part time man”. Smokestack

Lightning, is given a dusting of Mississippi

delta acoustic, a sublime reinterpretation. Shake

It For Me, displays some brilliant fingerpicking.

Another original, Sometimes I Wonder, is a slow

blues number with haunting harmonica. Don’t Start

Me Talking, is a highlight cover of the Sonny Boy

Williamson classic. His song, Let’s Make Love Again

is mellow and sung smoothly. Honey Bee, Sail On is

a magical cover the narrative so strong. His song,

Garbage Man is up tempo and humorous, another

tune about being mistreated. Truly a living blues

legend, he epitomises the reasons to keep the blues

genre alive and relevant, a masterpiece.

COLIN CAMPBELL



CHRIS BEVINGTON

ORGANISATION

SAND AND STONE

Independent

This is the fourth album

to be released

by this nine-piece

band, and the

second one to

contain all original

material. It’s True

is the opening

track that kicks

off with a killer

riff that leads into

the sublime vocal

talents of lead singer, Scott Ralph. Hot on Scott’s

heels are the equally sublime backing vocals of Sarah

Miller and Kate Robertson. A subtle mix of guitars

and horns combine to open this album with aplomb.

Already Got The Blues, once again features the

bluesy vocals of Scott that are an endearing fixture

within this band’s DNA. Couple that with searing

blues guitar from Jim Kirkpatrick, and what you

have is another masterpiece of high-end blues. All

songs on the album are co-written by Scott and Jim

except for Blues Is Everywhere that was co-written

with Sarah Miller. Sarah takes over the lead vocals

here and the result is amazing. If you came across

Billie Holiday or Nina Simone doing this on an album

fifty years ago you would still be raving about it today.

Well, start raving. This track is class personified

and helps elevate the album to even greater heights.

I Got Time instantly reminded me of The Blues

Brothers band that originally started on SNL. You

could just imagine Jake and Elwood putting this into

their repertoire whilst on their mission from God.

What Did I Drink Last Night could well have been

sung by any one of a hundred bluesmen of the last

century. Son House or Robert Johnson would have

been proud to write and sing this track. That’s how

good it is. The video that accompanies the title track

Sand And Stone is simply wonderful. Check it out on

YouTube. This is a magnificent way to end what is

in my opinion the album of the year so far. Tipping a

hat to the mining industry, it tells a story through the

eyes of real blues artists. How much better this band

can get, only they know. The finest blues band on the

planet right now? Yes, they are. Class incarnate.

STEPHEN HARRISON

JIM KIRKPATRICK

BALLAD OF A PRODIGAL SON

US One Records

The title track of the album is also the opening

track. Ballad Of A Prodigal Son is straight outta

the gate. Great drums and bass keep this track

trundling along at full tilt, bringing out the best

in Jim’s vocal range, that blends perfectly with

the lyrics and stunning guitar work. A full- bore

rocker to kick things off. On this album, there

are writing collaborations with the likes of Steve

Overland, Bernie Marsden, and Scott Ralph, his

singer/songwriting companion in Chris Bevington

Organisation. Ain’t Goin Down Alone

continues the theme of perfection that runs

right through this amazing album. It has a certain

swagger, not just musically but also lyrically

and arrangement wise. Blue Heron Boulevard

is an instrumental that has the feel of a bunch

of musicians jamming in the studio and coming

out with an instrumental work of art. Always On

The Road could quite easily sum up Jim’s normal

working life before lockdown. Co-written with

Bernie Marsden it has superb horns courtesy

of Scott Ralph, sweet silky backing vocals from

Sarah Miller and guitar work from Jim that once

again helps to create an absolute gem of a track.

61&49 is a stalwart of the live set from Chris

Bevington Organisation. If this doesn’t howl

the blues to you then nothing will. The backing

vocals of Sarah Miller combining with the rest of

the musicians is a joy to behold. A masterpiece

of blues that will pin you back in your chair and

make you beg for mercy. Brave New World commands

brave words to describe it. This is one of

the finest blues tunes I’ve ever had the privilege

to hear. There are two guitar solos here that defy

logic. He hits a certain note and it could almost

kill ya. If Robert Johnson hears this, he will ask

the devil for his soul back. All You Need (Is All

You Have ) brings the album to a close magnificently

with yet another stunning guitar solo.

What we have in Jim Kirkpatrick is England’s

equivalent to Joe Bonamassa. This is the joint

album of the year. Fact.

STEPHEN HARRISON

106



HURRICAINE RUTH

GOOD LIFE

American Showplace Music

From the opening seconds of this album, it is not

hard to see why they call Ruth LaMaster ‘Hurricane’.

Some albums, like this one, drop through

the letterbox here at BM Towers without any

additional information regarding the background

and pedigree of the musician(s) involved. But

the Internet is your friend, and a few clicks soon

hooks you up with the artist of your choice.

So, while listening to his latest, and fifth as I

found out, solo record, I was advised that Bart

is a soundtrack composer and has a following

across the US, Europe and Japan. Sounds like

he knows what he’s doing, and the opening cut,

Wanna Be, sets out his stall with conviction. It’s

well produced, tastefully played and beautifully

sung. Next is I’d Be A Fool which has a deep

soulful funky vibe to it. Everything from the

band just tugs gently on the beat, dragging it just

far enough backwards to accent the vocal over

the top, and Bart Ryan has an excellent voice to

add to his skilful and tasteful guitar work. Half

Way is a bluesy love song warning of getting too

close to the wrong woman. The word ‘tasteful’

is seriously over-used when referring to the

sound guitarists make, but it is absolutely the

correct adjective to use for the opening sound

of Bart Ryan’s guitar on Bring Out Your Joy,

and he maintains it through the background of

this tear-jerker vocal, and then a sublime and

perfectly judged solo. This is a man who is aware

of his talents as a player, and also, importantly,

aware of how to underplay them for maximum

musical effect, perfectly serving the song. The

Healer is an up-tempo gospel-tinged rocker –

this time a real wig-out solo is the way to go, and

Ryan goes for it, but always with the restraint

that runs through this set of songs – nothing is

stretched or forced, just the right level of vocal

and instrumental tension to pull everything

along. The final cut is Desire, as American as

apple pie, a lone and fiercely wrought lap steel

guitar and edgy passionate vocal remind what a

varied and well-crafted album this is.

ANDY HUGHES

DOM MARTIN

FROM SPAIN TO ITALY

Independent

This is Irishman, Dom

Martin’s first full

release and a fine one it

is after battling his way

through years of paying

troubadour dues and

filling the shoes of

Rory Gallagher as well

as anyone since. The

release packs heavy

touches of Ireland her

own influential self.

The tracks have heroes and villains played

out in lyric and melody, often metaphors, sometimes

not. Dom’s guitar playing is dazzling throughout as

is the production. Easy Way Out, Dom’s signature

tune, a dark acoustic ballad opens the album with

portentous notes, ill winds and gently picked strings.

Vocals lure you along to a bad ending with blood on

the floor. In-between you are wowed by melody and

visuals from scene changes. Dom is a troubadour; he

paints pictures for you to listen to. Dixie Black Hand

is a red neck rocker with screaming guitars and rim

shots like southern justice straight out of bluesbased

antiquity. Conversely, we are moved by Luka,

a nimbly offered lullaby accompanied by crying

slide guitar notes over the melody. Antrim Blues, a

tribute to his roots, blues heavy, spit and grit with

Dom’s macadamized vocals and resonator sliding

safely thru those slippery in between notes. Hell

For You drops jazzy, bluesy licks hovering between

melody and meaning. Title track, Spain To Italy is an

acoustical memory from an adventure that never

happened. The melancholy in his vocals and classical

picking embraces memory to a father who taught

him well. Mercy is a sweetly picked bluesy / jazzy

number that moves unhurried as if caught up in a

vindictive daydream. Dealer takes us back to Antrim

town with a building pace of guitar and drum that

spools frantic toward resolution and a slow fade to

still. Then The Rain Came with a catchy repetitive

hook and hardened vocals. Out On The Western

Plain has Led Belly and Rory Gallagher exchanging

meaningful glances. Blind Blake’s Dry Bone Rag is a

well-done tribute to another blues hero. Tellingly,

Dom’s slide work noshes it way thru Dog Eat Dog to

fini. Recommended? HELL YES!!

DARRELL SAGE



KIRK FLETCHER

MY BLUES HIGHWAY

Cleopatra Records

Kirk Fletcher is a highly respected

blues guitar player, sideman to

Joe Bonamassa and a member of

The Fabulous Thunderbirds, The

Mannish Boys and more. Sometimes

as a solo recording artist

something has lacked, maybe the production,

maybe the songs but on this release all is good. I feel this

is the best Kirk Fletcher album to date by some distance.

Ain’t No Cure For The Downhearted shows the way, the

interchange between guitar and bass grabs the attention

and Kirk has clearly improved vocally. This bluesy soulful

song is bang up to date. Single, No Place To Go is next, a

co-write with Grammy winner Richard Cousins, it has that

Robert Cray vibe going on. Nothing is rushed, you just

wallow in the rich tones. Love Is More Than A Word is a

Southern soulful love song expertly executed. If you’re

looking for a more blues guitar then Struggle For Grace

will provide it. Rather Switch Than Fight was written by

legendary sax player AC Reed (Albert Collins, Son Seals,

Earl Hooker) and it has that 70’s Chicago swing and swagger.

It could be straight from an early Alligator recording.

Heart So Heavy explores classic blues territory, a man’s

heart broken by a woman. Kirk wrings the emotion out of

the song both vocally and from the guitar. A lesser player

would simply play

through, but Kirk

stretches and holds

the anticipation.

Next is the Sonny

Boy Williamson

classic Fattening

Frog’s For Snakes,

the subject as relevant

today as ever.

The Chris Cain

“Kirk wrings the

emotion out of the

song both vocally

and from the guitar”

cover, Place In This World Somewhere, about seeing the

world through the eyes of a working man. Denny Freeman

is a Texas blues legend, connected to the Vaughan and

Doyle dynasties, he was a huge influence and guiding light

for young Kirk. D Is For Denny, Kirks tribute instrumental

with some lovely horns as supporting cast. The album closer

is a departure from the rest, mean, down and dirty blues

Life Gave Me A Dirty Deal. Originally performed by Juke

Boy Bonner, his former band mate Charlie Musselwhite

blows up a storm on harp, ably supported by Josh Smith on

National Resonator guitar. Highly recommended.

STEVE YOURGLIVCH

108



JW JONES

SONIC DEPARTURES

Solid Blues Records

International Blues Award winner

Canadian JW Jones won the best band

guitarist and was set to tour with his

band but the recent pandemic stopped

that. Undaunted he says he has “Turned

isolation into inspiration”. The core band

is himself on lead vocals and guitar, Jesse

Whiteley on keyboards, Jacob Clarke

on bass and Will Laurin on drums. But

“this release has all the

right ingredients to keep

the genre alive”

they are enhanced by a thirteen piece

horn section to make a big band sound.

Starter, Blue Jean Jacket is a stonking

hot tune setting the releases’ tone.

Same Mistakes is well arranged with

fine harmonies. The horn section blasts,

Ain’t Gonna Beg, this trio of songs are

originals before five covers. Firstly,

Drowning On Dry Land, this brings in

the rhythm section and has a funky feel.

Bye Bye Love, yes The Everly Brothers

classic is given the treatment some fine

piano work and Jones’ vocals are sharp.

Snatchin’ It Back is well composed, great

rhythm to this. It’s Obdacious has a jazzy

soul feel, saxophone solo by Jeff Pighin

a real highlight here. Guitar Slim’s, The

Things That I Used To Do, is well interpreted,

vocally sharp and superb guitar

solo by Jones. When It All Comes Down,

is the last number and has been recorded

by BB King and is very poignant for

the present days we live in. Keeping the

blues fresh is a difficult thing to do, but

this release has all the right ingredients

to keep the genre alive. Production by

Jones and Eric Eggleston is magnificent.

COLIN CAMPBELL

LYNNE JACKAMAN

ONE SHOT

Independent

To say that Lynne Jackaman’s

debut solo album is a labour

of love would be an understatement.

This release has

been eagerly anticipated by

her loyal fanbase for many

years. But finally, the fruits

of Jackaman’s labour are

available for our enjoyment. To make her

dream album Lynne Jackaman travelled to FAME Studios

in Muscle Shoals, Alabama alongside producer Jamie Evans

where a world-class group of musicians awaited them. This

included the likes of Spooner Oldham, Clayton Ivey, Bob

Wray, Will McFarlane and The Shoals Sisters, to name but a

few. Collectively this Transatlantic ensemble came together

in the studio where many of Jackaman’s influences had

recorded some of their most famous songs. When you work

in such legendary surroundings as FAME you have to rise to

the occasion, and that’s exactly what Lynne Jackaman has

done with her debut solo album One Shot. From the top of

the release Supernasty perfectly sets the tone for the rest of

the album. There is a real timeless quality to the track, and

most importantly it makes you want to dance. Songs such

“be swept away by the track’s

infectious rhythms”

as the emotive Nobody’s Fault But Yours and On Your Own

Now showcase the deeply personal nature of the material

on the record. Throughout One Shot Jackaman grapples

with topics such as love and loss. None more so than on the

heart-breaking ballad Beautiful Loss and the poetic On My

Own Stage. These tracks pay tribute to Jackaman’s Saint

Jude bandmate Adam Green, who tragically passed away

in 2012. Jackaman turns up the heat with the funky yet

heavy groove of I’ll Allow You and Red House. Likewise, the

uplifting Motown vibe and gospel undertones of Sooner or

Later really stand out on the release. However, the jewel in

the crown on this fantastic debut is Nothing But My Records

On. It’s a song that showcases Lynne’s soaring vocals and

versatility. You can’t help yourself but be swept away by

the track’s infectious rhythms. But the beauty of this track,

in particular, is the breakdown. As the song progresses it

unfolds into a spellbinding operatic aria - and if this doesn’t

move you, nothing will. One Shot may have been a long time

coming but it was certainly worth the wait!

ADAM KENNEDY



MIKE ZITO

QUARANTINE

BLUES

Gulf Coast

Records

“the whole album has a very

together feel to it”

Just before things went

haywire, I was really looking forward

to a real treat in catching the incredible talent that is

Mike Zito in the lovely little venue that is Harrogate

Blues Bar, hoping to hear his Chuck Berry tribute

material. (Just how did they manage to book this

one?) I was seriously disappointed at this no show,

but probably not as disappointed as Mike and his

band as they flew westwards, back across the Atlantic,

having had to cancel the tour. Not one for negative

thoughts, Mike got to thinking about his next

move forward whilst sitting on the plane. He decided

to “write, record, mix and master an album while he

was quarantined in his recording studio.” He worked

with the band, Matt Johnson, on drums, Doug Byrkit,

on bass and Lewis Stephens on keyboards. The band

must have some sort of telepathic connection, since

the whole album has a very together feel to it, despite

the separation. It opens with Mike sending me

a personal message (or perhaps a message for everybody

else, too?) with Don’t Let The World Get You

Down. It has a great beat and a fantastic message

and is reminiscent of a very upbeat Springsteen.

This could well become a personal anthem for many

blues/rock fans. Looking Out This Window sees

Mike contemplating the current lack of direction.

Don’t Touch Me is definitely a heavy rockin’ blues

number and features the unmistakeable guitarwork

of Tracii Guns in a guest appearance. The title track

Quarantine Blues is a very bass heavy slow blues,

with some great distorted vocals and lovely slide

work from Mike, lamenting the various pains of

quarantine. Walking the Street is a great rock tune

and Dark Raven follows, but with a more menacing

tone. Dust Up would be a great track to catch live.

Call Of The Wild captures a great southern rock

sound, as does Hurts My Heart. What It Used To Be

is the only acoustic track. After The Storm tells of

the band’s determination to return at some future

point. The sooner the better, please Mike.

STEVE BANKS

THE LUCKY LOSERS

GODLESS LAND

Vizztone

This album opens with the wonderfully chugging

soul sound of Half A Nothing, with Cathy Lemons’

vocal supremely sassy, and Phil Berkowitz

supporting on backing vocals and providing some

wailing blues harmonica playing. It closes with

the slightly dark Americana of The Ragged Heart.

In between these two there are a bunch of fine

blues and roots numbers, mostly sung by Cathy,

such as the title track, with its Willie Dixon styled

beat, strong ensemble sound, and a longer harp

break, with lyrics to make you think. Mad Love Is

Good Love is again soul flavoured, though with a

hint of New Orleans, and gives Phil the opportunity

to show off his assured lead vocals, there is

also some excellent organ playing by Chris Burns

here. This San Francisco six-piece (here with multi-instrumentalist/

producer Kid Andersen and

a couple of horn men guesting) came together

in 2014 under the leadership of the two singers

and has been highly acclaimed since then. This

release moves things up another notch, with

the vocalists supporting, complementing, and

duetting with each other over some classy and

“a real winner from

The Lucky Losers”

varied backings, on a program of mostly original

material and some judiciously picked covers.

Musically the material ranges from Mickey &

Sylvia’s rocking No Good Lover (and when I say

“rocking”, I mean this rocks like crazy!) to the

coolly jazz-inflected duet of Be You (written by

Docs Pomus and John), from the slinky, romping,

fifties flavoured duet Catch Desire By The Tail to

the smooth soul of Can’t Keep Pretending, from

the haunting, moody One Good Eye to the vintage

hokum sound of What Makes You Act Like

That, complete with some good-natured joshing

between Cathy and Phil and a vintage jazz guitar

solo. To sum up then, a real winner from The

Lucky Losers.

NORMAN DARWEN

110



AL BASILE

LAST HAND

Sweetspot Records

“it’s a very stripped-back, enigmatic

bit of musical storytelling”

When the Cd arrived, Al Basile was a complete

unknown to me. Having researched him, I

discovered that his 2016 release Mid-Century

Modern was nominated as Best Contemporary

Blues Album. He’s also a horn player, lyricist

and poet. He was a member of Roomful of Blues

and a long-time friend of Duke Robillard, who

has produced his previous albums. Al, however,

produced Last Hand himself. He is joined by

Bruce Bears on piano and organ, Brad Hallen on

electric bass and Mark Teixeira on drums. Al features

heavily on vocals and plays a cool sounding

muted cornet on Don’t and Time Heals Nothing.

(A phrase with which I have long concurred in as

much as that if time were a healer, who would

need doctors?). The press release states that

the album has “a late-night, after-hours groove

falling comfortably between blues and jazz” and I

think that says it as is. The clever artwork depicts

a pack of cards, which is the motif for the whole

idea of the album. i.e. you play the hand you are

dealt with the best you can and the deal in life is

not always a fair one. The format of the band on

the album dictates the musical style of the work

(i.e. a three piece jazz style trio with accompanying

vocals) The tracks are all very similar, but that

is due to the nature of Al’s storytelling style. The

album deals with an affair between an older man

and a younger woman and how things work out

and the various pressures that are on the relationship.

I really don’t want to tell Al’s story, but I

could easily sit through the whole thing as a live

entity. It’s very much like a 70’s “concept album”

without the guitar solos, pomp and lightshow;

in fact it’s a very stripped-back, enigmatic bit of

musical storytelling. It’s a very different sort of

album and a bit of a sad tear-jerker, but I’ll let you

decide on that for yourselves.

STEVE BANKS

DOWNCHILD

LIVE AT THE TORONTO JAZZ

FESTIVAL

Diesel Management Productions.

This is a live recording to celebrate over 50 years

of The Downchild Blues Band, aided by various

blues celebrities. The band is Canadian and was

named after the track by Sonny Boy Williamson

“Mr. Downchild”. They’ve played alongside American

legends such as B.B. King, Buddy Guy and

Muddy Waters and have also played a major role

in the blues revival in Canada. Dan Aykroyd is

quoted as having said “There would be no Blues

Brothers if it weren’t for Downchild”, which is

quite a good advert. They came to fame as the

inspiration for the film “The Blues Brothers” and

two Downchild songs Shotgun Blues and I Got

Everything I Need (Almost) feature on the Blues

Brothers’ 1978 multi-platinum album Briefcase

Full Of Blues. The CD opens with a good time

track called Can You Hear The Music, which has

plenty of energy along with piano, brass section

and twin harmonicas. The next track is a more

mellow number, with a soul sound and vocals

that are reminiscent of Good Time George (Mr.

Melly), or perhaps that was just a nod to the Jazz

Festival. It’s A Matter Of Time is much more

bluesy and has the feel of an Elmore James track,

as does the next track Madison Blues, which

features David Wilcox on guitar, which for my

taste might be a little too distorted to fit in with

the smooth backing, although the applause

from the audience suggests otherwise. One In A

Million is a slower, more romantic blues number.

Gene Taylor of Fabulous Thunderbirds fame

helps to pick up the pace on I’m Gonna Tell Your

Mother. The fantastic Erja Lyytinen makes a

guest appearance on the aptly titled Mississippi

Woman, Mississauga Man. (Mississauga is next

door to Toronto!). Her slide playing is brilliant as

usual. Dan Aykroyd (The Blues Brother himself!)

features on several tracks and there’s a great jam

session version of Big Joe Turner’s rocking blues

number, Flip, Flop and Fly. A rocking version of

Joe’s TV Mama concludes the festive blues gig.

STEVE BANKS



MALAYA BLUE

STILL

Blue Heart

Records

There is a heady mix

of genres here from

Malaya Blue, on this

twelve track release,

but intrinsically it

all surrounds her

seductive and class

delivery of the

tunes that shines

through. She wrote

eleven and is backed by the cream of British

musical talent. The opener, Still, was written for

Robert Cray by his bass player Grammy winner

Richard Cousins. The arrangement is sultry and

bluesy, sucking in the listener and absorbing them,

plaintive lyrics makes this a song to savour. Down

To The Bone, has a funky tone with Mike Horne on

drums mixing well with bassman Eddie Masters.

It’s A Shame, is mellow toned with smooth guitar

tones by Nat Martin. Love Can Tell, is another funky

take, Stevie Watts featuring on keyboard adding

character. Why Is Peace So Hard, is just divine,

Malaya taking a gospel groove on this. Love Of Your

“Strong delivery, a

musical treat, this

is a bluesy release

to savour”

Life, has such an honesty to the lyrics, just Malaya

and piano, pure raw passion. Kiss My Passion Away,

is upbeat and pacey. Settle Down Easy, is a sassy love

song. Down To The Bottom, keeps a slow groove.

These Four Walls, changes the tempo and mood

about self-belief in a relationship. I Can’t Be Loved,

is a slow ballad, again sung with such clarity and honesty,

full of emotion a highlight. The rocky, punchy

lyrics to Hot Love are almost visceral, matching the

musicianship. Strong delivery, a musical treat, this is

a bluesy release to savour.

COLIN CAMPBELL

THE JAMES

OLIVER BAND

TWANG

Last Music Co

James Oliver is a member of Welsh rockers band

Glas but on this, his debut solo album, he has

pulled together some local musicians to play

some high energy Rock ‘N’ Roll music that draws

from the mid 1970’s Pub Rock era when bands

like Dr Feelgood, Ducks Deluxe and Kilburn &

The High Roads thrived albeit only for a short period

before Punk came to the fore. To add to the

nostalgia Paul Riley (Chilli Willi) helps out on production

duties on what is a fairly uncomplicated

eleven track album of authentic good time Rock

‘N’ Roll, mixing original material with a couple of

covers, including two by Big Joe Turner. These

songs all sit comfortably together with American

Cars being a highlight with its up to date lyrics

(VW Polo rather than Cadillacs) and thumping

bass lines. James Oliver proves on this album

what a talented guitarist and songwriter he is,

while the majority of his playing replicates a very

authentic Rock ‘N’ Roll sound, he does also throw

in some scintillating bottleneck slide guitar on

TV Mama and let’s rip with some more lengthy

breath taking soloing on Outside Help. As is

common with this type of material the songs are

“Oliver proves on this album

what a talented guitarist

and songwriter he is”

short in length with the album clocking in at just

over thirty minutes but there is plenty packed

into this. He even gets time to play some Surf

Rock on the instrumental Misirlou, a song made

famous by Dick Dale which concludes the album.

I have not mentioned James’s vocals which is an

oversight as they are excellent throughout on

what is a very promising debut album, the music

may not be thought provoking but does leaves

the listener with a real feel good factor.

ADRIAN BLACKLEE

112


DAVE FIELDS

FORCE OF WILL

Independent

Keeping to his blues roots and mixing various

sonic sounds with his wonderful guitar work is

Dave Fields hallmark. He likes to dabble in rhythmic

sounds and give the listener a vast landscape

of music to enjoy.

On his newest and sixth release, he mixes a lot of

music genres. This is a no holds barred musical

odyssey. Dynamic, full of tone, furious at times

this is simply a brilliant release. Ten tracks start

“Oliver proves on this album

what a talented guitarist

and songwriter he is”

with the rocky shuffle, I Love My Baby. Big Block

is a stunner, with a boogie twist, great percussion

throughout the release by Steve Morse. Hunger,

is another toe tapper, a big sound here. Slow

blues comes in the form of, Why Can’t You Ever

Treat Me Right, a real tear jerker with added

showboat guitar solo. Title track, Force Of Will,

has a punchy groove, about getting on with life at

a difficult time, very topical.

It’s Not Ok, features Bjorn Hagset on bass;

Dave’s vocals are pleading and full of emotion at

a relationship going awry, a highlight. Chloe And

Otis, brings some funky blues into the equation,

very Steely Dan in notation and interpretation, a

joyous tune. Dave’s love for New York is heavily

noted on his homage to Delmar Brown, entitled

Delmar, this is guitar artistry.

Jack Ham Her, is another flowing instrumental

almost psychedelic in tone, really raising the

overall experimental tone. Last song is, Best I

Can, which has soul bluesy tones.

ERJA

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SHIRLEY KING

BLUES FOR A KING

Cleopatra Records

It can be a mixed

blessing for a

performer when

your father was a

global legend. In the

end, though, talent

clears the way, and

a woman already

dubbed ‘Daughter

of The Blues’ (in this

instance the blues

being B. B. King), possesses enough

formidable talent to justify any praise. So, here is an

album of eleven tracks featuring a voice of clarity,

personality, and power. Shirley King is a classic blues

singer and is justifiably magnetic enough in her field

to attract some big blues players to underpin her

vigorous vocal skills. Every track features someone

from the blues ‘who’s who’. Joe Louis Walker rocks

out on All of My Lovin’. There’s some fine guitar from

Pat Travers on an invigorating performance of That’s

All Right, Mama. Shirley really gets to grip with the

old British classic from Traffic, Can’t Find My Way

Back Home featuring Martin Barre. She does ample

“His power lives in

his daughter Shirley,

wherever B.B. is, he

must be proud”

justice to The Temptations’ Johnny Porter. Any

singer who chooses to sing the great Etta James hit

At Last sets themselves a real task, but with a tasteful

string arrangement, Shirley does this beautiful

song true justice. Her given title ‘Daughter of The

Blues’ rings very true with Gallows Pole, featuring

Harvey Mandel, and the sizzling Hoodoo Man Blues

propelled along by Junior Wells and Joe Louis Walker.

So, the great Riley B. King left us more than his

glorious heritage of memories and recordings. His

power lives in his daughter Shirley, wherever B.B. is,

he must be proud.

ROY BAINTON

HANNAH ALDRIDGE

LIVE IN BLACK AND WHITE

Icons Creating Evil Art

Hannah has built a reputation as a singer steeped

in dark Southern Gothic imagery wrapped up

in an Americana musical shroud. This is a live

recording made in London, sadly I have no info

about exactly where or when, featuring Hannah

solo for the most part with the occasional guest.

Howling Bones instantly sets the vibe, dark and

brooding. Lie Like You Love Me features her

father Walt, a Muscle Shoals legend. It is a beautiful

duet in a ragged tortured way. Goldrush, the

title track of her 2nd studio album reminds me of

the best Ryan Adams. Aftermath is given the full

Hannah treatment; she really delivers a heartfelt

believable vocal. Black And White is softer,

gentler, and introspective. The theme continues

into Save Yourself with accompionship provided

by Black Feathers. Welsh band Goat Roper

Rodeo join Hannah next for Rails To Ride. They

provide a vibrant backdrop to a sweet country

delivery on this swinging tune. UK favourite

Danni Nicholls is up next for Lace. This might

“Her personality shines through

this intimate live performance”

just be my personal favourite on the album, soft

backing vocals and a heartfelt haunting Hannah

delivery. Parchman follows, Hannah picking

guitar with dexterity and skill. The rousing Born

To Be Broken is full of devil be damned and

evangelistic power. A great showstopper to close

the set. But there’s more, we get two encores,

first Lonesome. A love song looking back on what

was and what could be. Burning Down Birmingham

raises the beat and pays tribute to Hannah’s

Alabama roots. Her personality shines through

this intimate live performance and you really do

feel part of the audience. I’m not familiar with

the studio recordings but this makes me want

to check them out. One for the Southern Gothic

aficionados for sure.

STEVE YOURGLIVCH

114



JIMMY REGAL & THE

ROYALS

LATE NIGHT CHICKEN

Lunariar Records

Ten tracks, seven of which are written by

guitarist C J Williams, with 3 covers, all of which

they make their own! At first glance, this seems

to be a promo for a local chicken outlet, but it

turns out not to be just a menu but a well-crafted

and presented slice of top-class Rock and

Blues. At times it is difficult to believe that this

is just a trio, but in fairness, they do pull in some

powerful help from time to time with kora player

Diabel Cissokho, who submitted his work from

down home in Senegal!. Unusually, there is an

instrumental Regal Alley which will have you

scratching your heads as to what instrument

is opening the piece? (Give up? It’s a distorted

harp!), According to the blurb, promoters are

queuing up to book these guys and I have to say

that I am not surprised! More please.

VARIOUS ARTISTS

ROCKIN’ BLUES PARTY

BIG3 2020

DAVE STONE

This is not really a review, but an urging to you

all to go to your nearest Sainsburys and search

the shelves for this album while it’s still there!.

Why? Because it is a 3 CD set of 60 songs, that

I am sure most of you will have several already,

but for £4.00, yes that’s right £4.00, you can put

all your old original Blues vinyl back into safe

storage and enjoy three albums worth of fully

remastered Blues. How can you lose? Tell them

Dave Sent you!

DAVE STONE

TOMÁS DONCKER

MOANIN’ AT MIDNIGHT The

Howlin’ Wolf Project (DELUXE

EDITION)

True Groove

Tomás Doncker cut

his teeth as a guitarist

with New York

New Wave acts

including James

Chance & The

Contortions, Defunkt

and J Walter

Nego & The Loose

Jointz. Going on to work with a list of who’s

who he is the CEO of True Groove Records and in

2011 CNN credited him with creating a new genre,

Global Soul. In 2014 Doncker with his band released

The Howlin’ Wolf Project Moanin’’ At Midnight. Now

Re-Released as a deluxe edition changing one track

and putting a few live versions on the album, backed

by his impressive band The True Groove All-Stars

Doncker has given the Chester A. Burnett classics a

modern-day twist while still keeping the essence of

the original recordings. The album opens with Evil,

deep funky baselines drives the rhythm along with

menacing guitar riffs replacing the original piano

beat. Slowing the pace with Killing Floor Tomás

delivers emotional soulful vocals that is matched by

the guitar and harmonica. Back Door Man maintains

the shuffle riff with some good interplay between

guitar and harmonica. On Moanin’ At Midnight

Tomás delivers some excellent anguished vocals

over a modern funky soulful vibe, lifting the tempo

up with Spoonful, this is given a rock feel with some

Hendrix sounding guitar riffs, gritty vocals and

blistering harmonica. Not on the original release,

Red Rooster with its laidback shuffle pretty much

keeps to the original. With a rock and roll vibe the

infectious rendition of I Ain’t Superstitious will have

you up dancing. On Smokestack Lightning Tomás

gives more emphasis to the Wolf’s trademark Howlin’,

a modern version with a jazz middle. Next is a

dub mix of Moanin’ At Midnight. The original album

had Shook Down as a studio track, here it’s one of

three live tracks on the album not a Wolf song but it

is an enjoyable Chicago style blues shuffle. The other

two live tracks are good renditions of Back Door

Man and Smokestack Lightening. Very well played

throughout but will divide listeners.

SHIRL


IBBA TOP 40 | OCT/NOV 2020

116



JOE LOUIS WALKER

BLUES COMIN’ ON

Cleopatra Blues

When Joe Louis Walker first broke through in

the mid-80s, he was compared to Robert Cray. It

quickly became apparent though that Joe was,

and still is, very much his own man. He can play

you the pure blues (try Old Time Used To Be),

or, as in numerous places, sometimes he will

reference other parts of his experience. A glance

at the extensive guest list is revealing: the presence

of guitarists Jorma Kaukonen and Albert

Lee, John Sebastian on harp, and Jimi Hendrix’s

Woodstock Festival percussionist Juma Sultan

link him to the long-gone days of peace and love

(try 7 & 7 Is); Carla Cooke is soul supremo Sam’s

daughter, and harmonica player Lee Oskar reminds

us of the California funk scene. Eric Gales

and Keb’ Mo’ are opposite ends of the blues

revival that happened in the 90s, Arlen Roth and

David Bromberg, ace guitar players in their respective

fields, Mitch Ryder and Dion both white

hit-makers strongly influenced by African-American

music, and Jesse Johnson and Jellybean

Johnson represent the “R’n’B” of the late 80s

onwards. I was trying to avoid a list, but those

artists do give a good idea of the styles on offer

here. Throughout, Joe’s always soulful vocals and

excellent blues guitar playing are a constant, on

Awake Me, Shake Me, his duet with Carla Cooke,

his instrumental break turns a smoochy soul

number into a strong blues performance. Some

of the breadth of his approach can be gauged by

the opening two tracks, the heavy, almost psychedelic

blues-rock of the opener contrasts with

the acoustic-driven title track, a duet with Dion

that builds up a head of steam in a completely

different fashion,Joe’s gospel influences are at

work towards the end of this excellent number.

Borrowed numbers include one from Bobby

Rush and one from Charlie Rich, again showing

Joe’s range. Having said that, the whole album

hangs together beautifully and works extremely

well as a cohesive whole. Hopefully, it should

bring him some new listeners too.

NORMAN DARWEN

CHARLES BROWN

THE COLLECTION 1947-57

Acrobat

Perhaps my favourite blues track of all time is

Have You Ever Loved A Woman, first recorded by

Freddie King in 1960 and subsequently taken to

the next level by Slowhand. It’s usually credited

to songwriter Billy Myles. So, I was taken aback

to hear Charles Brown’s 1950 recording Did You

Ever Love A Woman on this 50-track two-CD set,

which strongly suggests that the royalties should

have gone to one Arnold Dwight Moore instead.

Also, of note is Cryin’ And Driftin’ Blues, a Brown

original that emerges with only minor lyrical

alterations in both the Clapton and Butterfield

repertoires decades later as simply Driftin’ Blues.

“Brown doesn’t have the

posthumous reputation

you would expect for a

man who scored multiple

R&B chart placings”

Texan-born vocalist and pianist Brown doesn’t

have the posthumous reputation you would

expect for a man who scored multiple R&B chart

placings, including his hits with Johnny Moore’s

Three Blazers, some of which are included here.

This mainly due to his heavily jazz-leaning supper

club stylings that lack the cottonfield angst of

the Delta shouters or the propulsive rhythms of

Chess Records’ immortal output of the same period.

It’s not all blues, by any means. Some of the

sides are jazz standards and/or Eisenhower era

pop. But this music was box office in the racially

integrated night clubs of west coast America

after world war two, and even the likes of Ray

Charles acknowledges his debt. Given that The

Charles Brown Collection 1947-57 is a budget

release, it’s worth listening to for blues archaeology

purposes alone.

DAVID OSLER


RMR TOP 50 | OCT/NOV 2020

RMR TOP 50

Roots Music Report’s Blues Rock album chart

POS ARTIST ALBUM

1 ROOMFUL OF BLUES IN A ROOMFUL OF BLUES ALLIGATOR

2 THE REVEREND SHAWN AMOS BLUE SKY PUT TOGETHER MUSIC

3 ANTHONY GERACI DAYDREAMS IN BLUE SHINING STONE

4 KAT RIGGINS CRY OUT GULF COAST

5 HURRICANE RUTH GOOD LIFE AMERICAN SHOWPLACE

6 MARK MAY BAND DEEP DARK DEMON GULF COAST

7 WILY BO WALKER & DANNY FLAM AIN’T NO MAN A GOOD MAN MESCAL CANYON

8 CROOKED EYE TOMMY HOT COFFEE AND PAIN BLUE HEART

9 TOO SLIM & THE TAILDRAGGERS THE REMEDY VIZZTONE

10 ROBERT CRAY THAT’S WHAT I HEARD NOZZLE

11 VICTOR WAINWRIGHT MEMPHIS LOUD RUF

12 SAVOY BROWN AIN’T DONE YET QUARTO VALLEY

13 JW-JONES SONIC DEPARTURES SOLID BLUES

14 J.D. TAYLOR THE COLDWATER SESSIONS VIZZTONE

15 PETER KARP MAGNIFICENT HEART ROSE COTTAGE

16 JOSE RAMIREZ HERE I COME SELF-RELEASE

17 SONNY LANDRETH BLACKTOP RUN PROVOGUE

18 THE LUCKY LOSERS GODLESS LAND VIZZTONE

19 ALEX DIXON’S VINTAGE DIXON THE REAL MCCOY DIXON LANDING MUSIC

20 DION BLUES WITH FRIENDS KEEPING THE BLUES ALIVE

21 KIRSTEN THIEN TWO SIDES SCREEN DOOR

22 CD WOODBURY WORLD’S GONE CRAZY SELF-RELEASE

23 TAS CRU DRIVE ON SUBCAT

24 JOHNNY BURGIN NO BORDER BLUES DELMARK

25 THE MARY JO CURRY BAND FRONT PORCH SELF-RELEASE

26 MISTY BLUES WEED ‘EM & REAP SELF-RELEASE

27 RORY BLOCK PROVE IT ON ME STONY PLAIN

28 JOHN PRIMER & BOB CORRITORE THE GYPSY WOMAN TOLD ME VIZZTONE

29 REVEREND FREAKCHILD THE BODHISATTVA BLUES TREATED AND RELEASED

30 GRANT DERMODY MY DONY SELF-RELEASE

31 WHITNEY SHAY STAND UP! RUF

32 BRIDGET KELLY BAND DARK SPACES ALPHA SUN

33 CRYSTAL SHAWANDA CHURCH HOUSE BLUES TRUE NORTH

34 GREGG MARTINEZ MACDADDY MOJEAUX NOLA BLUE

35 MISS TESS THE MOON IS AN ASHTRAY TONE TREE

36 THE BETTY FOX BAND PEACE IN PIECES SELF-RELEASE

37 SASS JORDAN REBEL MOON BLUES STONY PLAIN

38 SAMANTHA FISH KILL OR BE KIND ROUNDER

39 DOWNCHILD 50TH ANNIVERSARY: LIVE DIESEL MANGMENT PROD.

40 ERIC JOHANSON BELOW SEA LEVEL NOLA BLUE

41 TINSLEY ELLIS ICE CREAM IN HELL ALLIGATOR

42 LISA MILLS THE TRIANGLE BMG

43 GERALD MCCLENDON CAN’T NOBODY STOP ME NOW DELTA ROOTS

44 LAURA GREEN GREEN EYED BLUES SELF-RELEASE

45 THE PROVEN ONES YOU AIN’T DONE GULF COAST

46 DAVE FIELDS FORCE OF WILL SELF-RELEASE

47 KENNY “BLUES BOSS” WAYNE GO, JUST DO IT! STONY PLAIN

48 CASEY HENSLEY GOOD AS GONE VIZZTONE

49 CARY MORIN DOCKSIDE SAINTS SELF-RELEASE

50 HAMISH ANDERSON OUT OF MY HEAD SELF-RELEASE

www.rootsmusicreport.com

118



CROOKED EYE TOMMY

HOT COFFEE AND PAIN

Blue Heart Records

Tommy Marsh and his brother Paddy formed the

band back in 2010 and immediately started making

waves in their Ventura County area, those

ripples spread to the IBC with the duo reaching

the final in 2020. This though is a full band with

Samuel Corea & Charlie McClure forming a tight

rhythm section and several tracks benefitting

from keys and sax provided by Jimmy Claire &

Craig Williams, respectively. The album kicks off

with the Son House classic Death Letter Blues,

but this is no stale back-porch rendition, from the

off the guitar menaces, the rhythm section lock

in and the Hammond swirls as only it can. This

rocks. Following is Sitting In The Driveway, Paddy

on vocals this time. A real dirty blues lamenting

bad times delivered at the perfect pace, never a

note more than required. Title track next, more

upbeat with a great sax intro. Tommy shows he

has the vocal chops too. Twist The Sky highlights

the guys psychedelic rock leanings but with

“This is a first-class album,

every track memorable”

crunch and bite. Super solos by Paddy and Samuel.

Change of tempo for Baby Where You Been,

featuring Teresa James on vocal and piano duetting

with Tommy. Angel Of Mercy has a jam band

feel while The Time It Takes To Live is more introspective

and features the brothers interchanging

vocals and lead. At 7 minutes plus it gradually

envelopes the listener and paints pictures in your

mind. The Big House is an instrumental homage

to the Allman Brothers named after the estate

that many connected with The Allmans grew

up on. The album closes with Congo Square, a

mainstay of Sonny Landreth live performances.

It’s given a fresh hot infusion of sax and a burning

rhythm section. This is a first-class album, every

track memorable in its own way and demands

repeated listening.

STEVE YOURGLIVCH

JON STRAHL BAND

HEARTACHE AND TOIL

Independent

This appears to be the third release by this Indianapolis

band, following an EP in 2012 and a full

album in 2014.Heatache And Toil is an all-original

effort credited to the whole band: Jon on guitar

and vocals, Bill Mallers on keys, Mitch Millhoff on

bass and Nick Mallers on drums; a three-man horn

section plays on four tracks. The opening three

tracks make you think “another standard blues-rock

band with a touch of funk” and, in addition, the first

two tracks, Hey Yeah, All Right and the Mississippi

Hill Country sounding How Long are both marred

“the band is at its best when

it produces melodic tunes

supported by the horns”

by repetitive lyrics. The electric piano opening to

Leave Me Alone sounds like vintage Ray Charles

but unfortunately distorted vocals and squealing

wah-wah guitar spoil the track. However, things

improve, and the band shows greater variety and

a more melodic approach elsewhere on the album.

The gently funky The Right Thing has good piano

and guitar while The Weight I Feel is a slow-paced

soulful ballad. The band saves the best for last with

four strong tracks to close the album. The Only

Ones has a catchy riff at its core and is lifted by

the horns who also add considerably to what is, for

this reviewer, the standout track on the album, a

mid-tempo, soul-blues song Day After Day which

has a lilting chorus that embeds itself into your

brain. The final two tracks are both acoustically

based: So Real recalls the Allmans’ Little Martha

while Jon’s electric solo is pure Dickey Betts; the

solo guitar instrumental Indiana Moonrise continues

the feel of acoustic playing with an influence

from Eastern music. Overall, something of a mixed

bag but the band is at its best when it produces

melodic tunes supported by the horns.

JOHN MITCHELL



TONY O

BLUES O’ BLUES

Top Of The Blues

Records

Tony O’Melio is an experienced

guitarist from New

York City who has played

with a host of big names:

Hubert Sumlin gave him the ‘Tony O’ tag in

the 1970’s and he played with James Cotton and The

Legendary Blues Band. However, Tony’s greatest influence

must be BB King and the five songs with full

horn sections are a delight. There are three BB songs

here, starting with You Upset Me Baby with fine

piano and horns, So Excited which has enough space

for a fine sax solo and Woke Up This Morning which

may just be the pick of the three with its tricky

time changes and a great horn arrangement. The

other two tracks with horns are a relatively obscure

Muddy Waters song, My Love Strikes Like Lightning,

and Tony’s own title track, a slow blues with

excellent guitar work which originally appeared on

Pinetop Perkins’ Born In The Delta, garnering Tony

a Grammy nomination. On the five tracks without

horns Tony takes us to Chicago on You’re So Sweet,

written by another former employer, Jimmy Rogers,

which really belts along with the first appearance

of Tony’s harmonica, double-tracked over his guitar

work. Two songs here are associated with Brook

Benton: on It’s Just A Matter Of Time Tony sticks to

the vocals, leaving rhythm guitarist Chumslick Nick

(great name!) to take on the lead role, well supported

by pianist Boogie Bob Erikson; Lie To Me finds

Tony in Rn’B balladeer style, his guitar ringing out

over more great piano work. Two originals complete

“a strong album of classic blues -

right up this reviewer’s street”

this solid album, both featuring Tony’s harp skills:

Keep On Movin’ is one of those easy-grooving shuffles

to which it is hard to keep still while set closer

Just Drive is a barrelling instrumental which gives

Nick a second solo spot as Tony blows up a fair head

of steam on harp. Tony has a light, pleasant voice

and avoids histrionic guitar shredding, producing a

strong album of classic blues - right up this reviewer’s

street!

JOHN MITCHELL

EB DAVIS AND

THE SUPER BAND

EB DAVIS AND THE SUPER BAND

LIVE AT THE A-TRANE BERLIN

Soul Defender Music

The blues singer, harmonica player and band

leader EB Davis gathered a brass heavy band

together to play scintillating, jump jive and

blues on their live release – Live at the A-Trane,

Berlin to perform this live set. That was first

recorded in 2005 and is only now seeing the

light of time. With sax, trumpet, piano, backing

singer, drums, bass, and guitar, the band is on

fine form throughout. From the exciting opening

Hammond organ heavy funk of The Moon is Full,

to Billy Boy Arnold’s Big Mother For You, and

“the band clearly

knew how to deliver

a fine set of music”

the slow blues of Love You Baby, the band goes

through the full range. Willie Dixon’s 29 Ways

is given a full brass treatment, and the original

Sleeping in the Ground is a slow blues workout

for the guitar of J Bailey, and saxophonist Willie

Pollock and Trumpet player Don Marriot both

make telling contributions to the whole of the

album. Songs by the likes of Allan Toussaint and

James Brown, as well as a few stylistic originals

also show the quality of the musicianship on the

stage. Set closer, an accapella reading of Good

Night Sweetheart shows the vocal talents of all

the players, and it would have been good to have

seen some more of this type of singing throughout

the album. Although there is nothing new

here, the band clearly knew how to deliver a fine

set of music, and the audience, judging by their

reactions seemed to enjoy listening.

BEN MACNAIR

120



NIGEL BARKER

FIVE.THE FIFTH ALBUM

Independent

Nigel Barker releases his fifth album and writes,

produces, and plays every instrument on the

album. and that is no mean feat. Yeah Yeah

Yeah kicks off the album in a quite unusual way.

A thumping driving drum beat starts as Barker

introduces us to a one-string guitar. That’s a new

one on me. But don’t let that put you off. This is a

blues/rock opener that certainly gets the blood

pumping. Telling My Troubles To Strangers might

sound like it’s going to be a full-on blues tune

but it isn’t. It has a somewhat different approach

to blues whilst still retaining a blues core, that

once you hear it, it has you hooked. And that

continues throughout the entire album. Weaving

and twisting in and out of blues, blues/rock, and

sometimes a bit of 60s flower power. I Cures The

Sun For Coming Up Today, however, does have a

more traditional blues feel about it. That might

be attributed to the harmonica that gently lays

in the background giving just the right amount

of input. This is a dark tale of a man searching for

something to lift his spirits as he is at his lowest

ebb. A good song this. Going To Albuquerque

is a more uplifting tune. Blues harmonica and

keyboards take a bigger hand in proceedings and

it’s joyous to hear. A foot-tapper type of tune

“His blues side comes out on top”

that puts you in mind of being on a long road trip

somewhere. The travelling bluesman going from

town to town springs very easily to the mind.

Seek The Truth And I’ll Meet You There allows

us another glimpse into the workings of Nigel

Barker. A more positive approach to the lyrics

and arrangement, but that’s not a criticism of the

other tracks. Far from it. It’s just another way of

him allowing a sneaky peek at his other persona.

Only The Right Woman Can Do Me Wrong finishes

the album. This is a definite blues song from

start to finish. So, we see many sides to Nigel

Barker. His blues side comes out on top.

STEPHEN HARRISON

AYESHA PONTIN

NOCTURNE

Independent

Almost six years after releasing her debut album

A Thousand Shores, Ayesha Pontin returns with

her second offering. Now, six years between

releases is a long time by anyone’s standards

and the gap is noticeable to say the least. The

new album steps away from the country genre

somewhat, venturing more into blues territory,

although the country influences are still clearly

present. I will have to admit, that this is the first

time I have heard a crossover between these

genres, but it works (to my surprise). Comparing

the two releases, it is obvious that Ayesha has

matured both as a song writer and a vocalist in

the time between them, and she has a wealth of

new experiences from which to draw inspiration.

The album contains ballads that tug at your heart

“Pour yourself a drink, sit

down, plug in your headphones,

and immerse yourself

in something beautiful”

strings, and there are a few faster tracks that will

get your feet moving. Over-all though, the journey

is geared toward a more sedate pace. That

said, it is by no means boring, as each song draws

you in, begging you to listen closely to the lyrics,

and feel what she was feeling at the time it was

written. While the crossover of genres, for some,

might take some getting used to (it took me a few

listens), it is worth persevering with, especially if

you are looking for something a little different. If,

however, you like well-written songs played with

feeling, regardless of genre, then you should give

this album a spin. Pour yourself a drink, sit down,

plug in your headphones, and immerse yourself

in something beautiful.

JON SEYMOUR



WHEN RIVERS MEET

INNOCENCE OF

YOUTH

One Road Records

This dynamic act impressed

me from the off

with their previous EP

releases and now we

have Grace and Aaron

with this powerful new

release featuring five action-packed tracks for your

pleasure. We already know just how this couple are

multi-instrument talented and here display those

talents with Grace on vocals, mandolin, violin, and

Resonator while Aaron takes vocals, electric and

slide guitar and we add Adam Bowers on bass, drums

and keys so pop the disc on and fasten your seat

belt as the title track slides into life and twangs off

before belting out of the speakers again and striding

and stomping around your ears, as Grace sings: “you

can feel it in your bones” for a mesmerising, sometimes

‘tribal’ 4.08 of sheer enjoyment! The slightly

familiar Black Sabbath bell chimes out as we enter

A Dead Man Doesn’t Lie and learn how vengeful a

scorned woman can be, she shot him! Then sings

about it for redemption. Neat eerie violin tempers

and howls and voice hums over the great backdrop.

We crash into My Baby Says He Loves Me, but hey,

“a compulsive piece of

work from a fine act”

there are doubts here. The voice pleads that it be

true but there are real doubts and wandering eyes

as the instruments are worked to the full, incessant

beat, striding chords, fits and starts, harmonising,

sad slide work and slightly military drumming creeps

in as the pleading and chords thump to an end.

Chanting, clapping and foot stomp takes the lead to

Fire as it warns you of what is coming, “fire burns

through the night”, watch out. There’s threatening,

striding chords and drum opening Want Your Love

before the vocal begins to warn and the title becomes

something more threatening than charming.

We move along with pace, harmony rising and falling

but consuming and the wily violin is perfect. So this

is a compulsive piece of work from a fine act that

should do nothing but grow and appear on some of

the big stages, most highly recommended

ALAN PEARCE

DAN PENN

LIVING ON MERCY

Last Music Company

For such a revered artist and song writer this is

surprisingly Dan’s first studio recording for 26

Years. During his career Dan has written some

classic hit songs for mainly Soul and R & B artists

and this theme is continued on this recording

where Dan’s sweet soulful vocals come to the

fore. The thirteen songs have been written by

Dan in collaboration with the likes of Spooner

Oldham, Wayne Carson, Cate Brothers and Gary

Nicholson. They were recorded in Music Shoals

and Nashville with a five-piece studio band and

accompanying full Horn section. The results

“a quality collection of new soulful

tunes impeccably sung by Dan”

are sensational, what you get here are a quality

collection of new soulful tunes impeccably

sung by Dan. I’m staggered to read that Dan is

approaching his 80th Birthday, this seems incomprehensible

when listening to his silky-smooth

vocals on this album, he hits the high notes with

ease and totally commands the material. The

accomplished studio band give him solid support

in setting the decibels at the right intensity. The

opening title track Living On Mercy is a great

opener with its infectious chorus and laid back

style, the lyrics are sublime and include the

following verse; “I don’t eat right anymore I don’t

sleep like I did before all I do is walk the floor

and think about you”. Each song includes similar

carefully thought out lyrics covering lost opportunities

and the trials and tribulations of life. This

is clearly a Soul influenced album that while not

having a hint of Blues is worthy of inclusion in

Blues Matters as it demonstrates you are never

too old to deliver high quality music which is

drawn from a lifetime of writing and performing

music you love. I feel like the “cat that got the

cream” in having the opportunity to review this

album.

ADRIAN BLACKLEE

122



ERIC HUGHES BAND

POSTCARD FROM BEALE STREE

Endless Blue Records

If anyone is entitled to write a postcard from

Beale Street, it would be Eric Hughes (no relation).

Eric is a Beale Street veteran, and he invites

some similarly hugely experienced session

musicians from the area to assist in delivering

this selection of songs. Eric Hughes’s voice relays

his experience, it is warm and whiskey-soaked, as

evidenced on Oh Booze, a sombre but timeless

lament about the cornerstones of Beale Street itself,

alcohol and music. Follow Your Stupid Little

Dreams is a virtual carbon copy of The Rhythm

Kings’ Town Living, but it fits in fine here, jaunty

and light-hearted which adjusts the mood nicely.

Homesick Angel has the wistful yearning atmosphere

of a Gram Parsons song, it’s a homage to

Eric’s grandfather, a fighter pilot during the war.

Blackberry Patch has some well-placed steel guitar,

but some of the lyrical couplets let the song

down because they stretch to fit more obviously

on a slow song like this. Come And See About Me

instantly redeems the lyrical level of this album,

underpinned with some tasteful harmonica. It’s a

plea from a man who is lonely and low, but there

is no self-pity involved, it’s simply an honest

request for some company, and there’s nothing

wrong with that.

Waiting For That Day is a rollicking rhythm and

blues work out, optimistic and delivered with

verve and conviction. There are cuts on more or

less every blues album that you just know are

going to the live show highlights, and this song

is one of those, and when we do eventually get

back to live music, this is going to be the set-closer,

or the encore, and send everyone home with

a big grin on their faces. Finishing on a lightly comedic

note never hurts, and It’s 4:20 Somewhere

does that. Some clever steel accents, a busy bass

line, and the shoutout of the title gives everyone

in the band a chance to join in, and no doubt once

again, a rowdy club audience will get right along

into it with the rest of the guys.

ANDY HUGHES

VARIOUS ARTISTS:

BACK TO PARADISE

A Tulsa Tribute to Okie Music

Horton Records CD

Independent

Seventeen atmospheric grooves recorded over

four days at Leon Russell’s famous Paradise

Studio on Grand Lake. The studio has been cared

for, restored, and preserved over three decades

by Tulsan Rick Huskey. So, what is an ‘Okie’? If

you’re from Oklahoma, you will know. And the

State has its own brand of heartwarming downhome

music, as these fine tracks prove. There

are compositions here from the famous to the

obscure by names such as the late, great Hoyt

Axton, JJ Cale, Leon Russell, and Lowell Fulson,

among others. Branjae’s delivery of Lowell

Fulson’s Tramp is a gem of unrestrained soulful

blues and Jesse Aycock’s poignant performance

of Rock’n’Roll Gypsies will send you into a

nostalgic meditation about pure Americana. Paul

Benjamin’s chugging Helluva Deal will have you

reaching for a beer, as will Dustin Pittley’s rendering

of a song by a great neglected Okie, Jim

Byfield (who remembers Alexis Korner’s radio

favourites, Rockin’ Jimmy and the Brothers of

“this album is as

satisfying as a rack

of ribs and a bottle of

Jack Daniels.

Leon Russell would

love it, and so do I”

The Night?) the spine-tingling Can’t Jive Enough.

As a showcase of American talent, this album is

as satisfying as a rack of ribs and a bottle of Jack

Daniels. Leon Russell would love it, and so do I.

ROY BAINTON



SUPER CHIKAN, TERRY

‘HARMONICA’ BEAN

FROM HILL COUNTRY BLUES TO

MISSISSIPPI DELTA BLUES

Wolf

In 2018 Wolf Record’s Hannes and Nicola Folterbauer travelled

through Mississippi in search of real blues they were

fortunate to record these two artists who are still carrying

the flame for traditional blues. Super Chikan released the

first of his nine albums in 1997 and with his all-female band

The Fighting Cocks he has played many of the big festivals,

travelled to Europe and been on the Blues Cruise. He also

makes his own distinctively painted guitars from all manner

of spare parts and here he plays solo on eight originals. Terry

‘Harmonica’ Bean has released seven albums since 2001

and played the major festivals but continues to work a day

job in a furniture factory. Here he plays guitar, harmonica

and foot stomp on seven tracks which include covers or

adaptations of traditional tunes. Both men pay tribute to

past blues masters such as Jimmy Reed, Elmore James, and

Muddy Waters, all the material recorded at their homes in

Clarksdale and Pontonoc, Mississippi. With 15 tracks and

an hour of music it is not easy to pick highlights for a short

review but Chikan’s description of a Tin Top Shack and his

autobiographical Poor Broke Boy really evoke the tough

reality of living in the Delta. Terry sets up a great rhythm on

Muddy’s Who Gonna Be Your Sweet Man When I’m Gone

and plays strong harp on several cuts, including his own

2018, Doin’ My Own Thing, the closing track on the album.

Chikan’s sense of humour comes across on songs like “Sippi

“these recordings capture two of the surviving

exponents of traditional Delta blues on home turf”

Seekan” Saw which he explains is an amalgam of Mississippi,

Tennessee and Arkansas, as well as his story about he and

his brother being called Fred because everything they wore

came from Fred’s Dollar Store! Chikan’s vocals are a little

clearer than Terry’s but these recordings capture two of the

surviving exponents of traditional Delta blues on home turf,

making this an essential purchase for fans of acoustic blues.

JOHN MITCHELL

CD WOODBURY

WORLDS GONE CRAZY

Blind Raccoon

As we’re all stuck in lockdown after

lockdown, remembering what a

good sweaty club blues gig used to

feel like, (complete with living people)

sometimes we can overcome

the isolation, put some bottles in

the fridge and turn the volume up.

When it comes to cheering yourself

up with some fine musicianship

and meaty vocals, guitarist CD

Woodbury, dubbed the “Northwest’s

best-kept secret” is your

man. From the opening track, the

rocking Follow The River Home,

with its gospel harmony intro, you

know that this quartet comprising

Woodbury, drummer Don Montana,

bassist Patrick McDaniel and

keyboards and saxophone whizz

Mike Marinig are going to keep

you excited for the next 13 songs.

“He will not be a

‘best kept secret’

for long”

Woodbury has some novel musical

approaches, take for example the

truly atmospheric slide guitar

opening to the title track, World’s

Gone Crazy and the hilarious

observation on obesity, Can’t Eat

That Stuff No More, and you can

imagine what a great night out you

could have with this band on stage.

When President Trumpty-Dumpty’s

promise that Covid 19 “will

simply vanish” comes true, then

look out for CD Woodbury on tour.

He will not be a ‘best kept secret’

for long.

ROY BAINTON

124



JOE CANDELARIO

THE BIG ENGINE

Mad Hare Entertainment

A deep rumbling rises to reveal the sound of

an approaching freight train building into the

opening instrumental rocking Blues rifts of

Conjunction Dysfunction. Never have I come

across this kind of juxtaposition of two distinct

elements of language and music coming together

in a title but heck, it works just fine! Over the

years, since 2002, Joe has released some nine

albums from his base state of Colorado and this

is strong, if a little predictable. That is not a real

criticism just a fact as no real boundaries are

“It is a solid collection

of songs picking up on

life and its foibles”

being pushed here. It is a solid collection of songs

picking up on life and its foibles. Bad Mojo Rising

leads you to think that it has been re-titled, to

avoid confusion with the CCR track, as the song

uses Moon throughout until tucked away at the

end Mojo makes an appearance. I really enjoyed

Hell Bound Train and have in fact used it, and

two others, within my radio programme. There is

something about train songs that just works well.

It is clear that Joe and his band of warriors have

honed their chops playing countless gigs as they

are a tight unit but I can’t name them as they are

not listed on my promo copy. A few of the tracks

are given an extended work out but mostly they

are short and very sweet, like Way 2 Go, stripped

back to simple acoustic twelve string, vocals and

tambourine vaguely reminiscent of The Byrds.

Perhaps the ‘oddest’ cut is the reggae influenced

instrumental C’mon Man. It shouldn’t work well

as the Blues wailing guitar is overlaid but yes

it does. So if you want a good, non challenging

listen, then this could be for you.

GRAEME SCOTT

NEW BREED R&B

SATURDAY NIGHT SPECIAL

KENT

In recent years Kent records have been accessing

multi-track tapes and delving deeper into R&B

Catalogues to great effect. Particularly productive

they have released some excellent material

on their New Breed series. Saturday Night Special

carries on the ever-expanding New Breed

genre. Putting together another compilation of

many previously unissued tracks, long ago-issued

CDs, Rare vinyl releases and a few offered up by

other record labels.

These twenty-four tracks from the early 60s

will have your toes tapping and you will soon

want to be up dancing your Saturday night away.

The album starts with a trip to the juke joint for

Every Saturday Night by Aaron Collins & The

Teen Queens. A high energy dance track that Ray

Charles covered with a funkier style and later

again with the Count Basie Orchestra. Punchy

horns keep the rare Triple Zero by Esko Wallace

bouncing along with a soul drenched doo wop

vibe Purty Li’l Mama by Freddie Williams is

another foot tapping energetic number. Flora D

released one single, here is the B side Way Out

Baby a lively paced shouting blues. Highlight is

the upbeat Johnny Guitar Watson track Wait A

Minute Baby, bluesy guitar riffs add to the vocal

style bands sound of the era. Head Doctor by

Gay Meadows is reminiscent of Otis Reading,

while the Pee Wee Foster track You Can Be My

Honey tends to sway heavily into the rock and

roll side of the genre. Sterling Magee takes us

down the soul style of James Brown on Tighten

Up & Pull Yourself Together. Another highlight is

the Tony Clarke song Love Must Be Taboo which

could easily pass as a British rhythm and blues

track of the 60s. The album closes in fine style

with the easy mid tempo blues I’m Walkin’ On by

Curly Mays. I could have picked numerous tracks

to highlight on this recording. Also included is a

superb book full of interesting information on

the artists and sessions, another highly recommended

album.

SHIRL



WILY BO WALKER &

DANNY FLAM

AIN’T NO MAN A GOOD MAN

Mescal Canyon Records

Ain’t No Man A Good Man is a ten-track album

that simply demands full-throttle, crack-upthe-volume

listening, like Spinal Tap on steroids.

Walker is a Scot, resident many years in London,

and Danny Flam a US Grammy winning musician

and arranger who leads the New York Brass.

As a combination, this unexpected duo works

remarkably well from start to finish. Walker

often works the rockier edge of blues, soul and

downright quirky themed modern music. Known

for his spectacularly arresting live sets in the

UK, he works his usual magic here with shades

of swinging jazz – with a macabre flourish – and

blues undercurrents that lead to a great in-yourface

fun release. In 2015, the pair teamed up to

deliver the widely admired and acclaimed Moon

Over Indigo. Here joined by the New York Brass,

the Brown Sisters of Chicago Gospel Choir and

the Cenovia Cummins String Quartet, the result

is a fully rounded, raucous release that is guaranteed

to keep interest levels soaring.

Tracks range widely from rock, jazz and blues to

swampy voodoo southern blues sounds always

anchored by that hard-hitting, Memphis horn

sound with its invariably uplifting beat and

bounce. Described as a bit of a journey from

London to New Orleans, the album includes a

truly arresting take on the old bluesey standard,

Saint James Infirmary, here given a rollicking,

riotous drive and delivery. Having listened to all

of Walker’s previous output in recent years, it

seems he’s hitting a new high working with Flam

and a Stax-like sound that suits his story-telling

musical abilities and aspirations. Joined by

many of his usual UK support team, Karena K on

vocals, Troy Redfern and Mike Ross on guitars,

Stevie Watts and Paul Long on Hammond and

keys, all near-royalty in the UK blues scene,

Walker and Flam have delivered a wonderful bit

of pedal-to-the-metal music.

IAIN PATIENCE

CARY MORIN

DOCKSIDE SAINTS

Independent

Cary Morin as a true American virtuoso guitarist.

And what sets him apart from the rest is not only

his musical talents but whilst on the road he can

be often found touring alongside his 10-pound

Shih Tzu named Zeus. That sounds like a winning

combo for sure. Morin’s latest offering was

recorded at the legendary Dockside Studio deep

in the heart of the Louisiana countryside. This

being a setting that has been utilised by many a

legendary artist including the likes of Dr John,

Levon Helm and BB King, to name but a few.

And what better location to get the best out of

Morin’s vast musical repertoire.

The album title Dockside Saints perfectly represents

the melting pot of sounds and styles on this

record as well as giving a subtle nod the studio

and the Louisiana region. From the opening

track itself Nobody Gotta Know that unmistakable

New Orleans sound shines through, which

perfectly sets the tone for the rest of the record.

But the beauty of this album is that it traverses a

wide musical landscape forming somewhat of a

Louisiana Gumbo of sounds and influences. From

the fingerpicking blues of Prisoner to the fiddle

fuelled folk of Tonight to the galloping country

rhythms of ‘Valley of the Chiefs’ and the somewhat

funky sounds of Cary’s Groove no stone is

left unturned. Tracks such as Bare Trees really

stands out on the record, it’s a beautiful slice

of Americana. Likewise, there is an astounding

range of musical textures featured throughout

via the usage of instruments such as pedal steel,

accordion, Hammond B3 and a healthy dose of

the fiddle. Which each, in turn, catalyse Morin’s

rich Americana sound. Because the record

covers such a vast musical spectrum, you do not

find yourself skipping tracks, each twist and turn

in the album maintains the listener’s interest

throughout. Whatever your musical persuasion

there is something on Dockside Saints for

everyone.

ADAM KENNEDY

126



BIG PACIFIC

WELCOME TO THE PARTY

Independent

The title track of the albums gets things underway

on this twelve track second outing for

this band out of Vancouver Island Canada and

what a tasty collection it is. As the title suggests

this quartet of seasoned musicians are out to

have fun making music. Does this mean that

the songs are light weight and frivolous? Not at

all! Whilst it could be argued that there maybe

nothing particularly new here, and yes I kind of

like boundaries to be pushed, sometimes you

don’t want to think too much. You just want to be

entertained and with this outfit they do that with

gusto. Writing and vocal duties are pretty much

shared around. Pigeon holes are always something

I try to avoid but for sure these guys would

come under the Blues Rock category. Always

“You just want to be entertained

and with this outfit

they do that with gusto”

melodic though making it easy to listen and enjoy

to the songs with their four part harmonies on

the likes of Hard Road and Here’s To Yesterday

where they sound like CSN&Y at times. However

if you want the rock side then Bad Girl and the

stomping Blue Moon Blues will get your juices

flowing. I liked the straight ahead Slip Away

where you meet someone and want take off

avoiding crowds. The singular California Girl is

far removed from The Beach Boys with fine keyboard

workouts taking the lead underpinned of

course with guitar chops and a pounding drums

and bass combo. The problem bands like Big

Pacific face is making the transition from great

local band and breaking out of their relatively

small pond into the huge ocean populated, as it

is, by hundreds of other talented outfits. I wish

them good luck setting sail into the wider world

as they deserve recognition.

GRAEME SCOTT

PAUL GILLINGS

INVISIBLE PRISON

Independent

Just under a year ago I reviewed an acoustic

album by Gillings which I enjoyed and noted his

harmonica skills. Now Gillings has returned with

a full fat electric set which features distorted,

grungy, guitars and wailing blues harp. The songs

“sounds which are

played well with

skill and verve”

are all original and Gillings plays all instruments

bar drums which are provided by Nathan

Luker. The album races out of the blocks with

Start Over Again a lively blues/rocker which

could easily sit on many British Blues Boom

albums from the 60’s. Great start! I Ain’t Never

Played An English Song With An English Guy

namechecks John Mayall, Alexis Korner, Peter

Green, Gary Moore, The Beatles and, er, Benny

Hill. Don’t worry it’s an absolute stomper!! The

hard-driving instrumental KWS is followed by I

Don’t Know When I’m Beaten a steady rocking

shuffle with Gillings half-spoken vocal sounding

remarkably like Lou Reed. The pace slows for the

country flavoured Passed Me By but we return

to bluesier Chicago territory with Help You

an answer to Sonny Boy Williamson featuring

a harmonica tour-de-force with that familiar

Green Onions riff. Tasty! I must say I am enjoying

this album which features new songs but some

familiar sounds which are played well with skill

and verve. The slow blues 3 Heads Are Better

Than 1 features jazzy guitar licks and melodic

harp. The caustic I Gave Up My Evening For This

is followed by the slow burning Waiting Blues

which rounds out this fine album. This one will

please the harp lovers but should also bring Gillings

to the attention of a wider audience. Good

stuff and thoroughly recommended.

DAVE DRURY



BART RYAN

STARLIGHT AND TALL TALES

Independent

Sometimes albums land on the mat here at BM

Towers with no information, just the album all

on its own. Fortunately, the Internet is your

friend, and a little searching reveals that this

is actually Bart’s fifth release, in tandem with

a successful career as a session musician and

composer. It seems that this album is intended to

focus on Bart’s voice, an excellent idea since his

vocals throughout this selection are uniformly

excellent, full of texture and feeling. The accompanying

musicians are uniformly excellent, each

supplying the correct textures and shades to

each song, never over-shadowing, always playing

exactly what is required. The smooth production

belies the information that this record was put

together in a basement, testimony to modern

recording techniques where expensive studios

are simply obsolete these days.

The second cut I’d Be A Fool is a slow-groove

funky bass-led exploration of love gone wrong,

again. It has a soulful feel with the understated

playing and backing vocals leaving room for

his superlative lead voice to tell the story. Half

Way is a slow-burning blues-filled cut, and Evil

swaggers along with some nice dirty guitar and

raggedy off-beat clapping to stop everything

being too smooth. Bring Out Your Joy is the first

cut where Ryan shows off his guitar skills, and

his tone is gorgeous, and his technique is every

bit as good as his vocal. The solo when it comes

is every bit as sweet as you’d hope it would be.

Another excellent conjunction of voice and guitar

is the slow-burning Nobody. Tonight Tonight

is radio-friendly with a punchy rhythm and some

tasteful horns. The final cut is a stripped-down

affair, just edgy vocal and equally edgy slide

guitar, Desire is a tale of hope and redemption.

If this album is a shop window for Bart Ryan’s

talents as a writer, vocalist and musician, then

it does an excellent job, but what it should do is

raise his profile to a deserved level in line with

the considerable talents he possesses.

ANDY HUGHES

RICK BERTHOD

PERIPHERAL VISIONS

Independent

This is the eighth album release by Nevada based

American Rick Berthod and his band, albeit

some of his earlier releases were under the

name of The Persuader Band. This album sees

them covering a mix of rocking blues and less

energetic soulful blues that are dominated by

Rick’s strident lead guitar work, all the material

has been written by Rick and his associates. The

album opener Seeing Sideways is a laid-back instrumental

that could have been drawn straight

out of the Motown catalogue, although it does

“blues that are dominated by

Rick’s strident lead guitar work”

incorporate some funkier Booker T & The MG’s

influences. Things soon warm up though with the

more traditional rocking blues songs Much Love

and Treat Her Right which have first-rate guitar

work and confident kick-ass vocals from Rick.

The supporting band members also get some

good airtime with pianist Billy Truitt particularly

impressive. The centrepiece of the album is the

lengthy slow blues song Fly On which includes

elements of SRV with a superb instrumental

intro where both guitar and Hammond organ

duel until the songs builds to a crescendo with

guest vocalist Ron Anaman cutting in, his vocals

are only used on two tracks but on these the anti

is definitely upped as some of the earlier more

Soulful orientated material comes across a bit

flat with Rick’s vocal struggling to dominate.

The second half of the ten-track album definitely

seems to have a harder edge and bite to it

which I feel suits the band better than the less

aggressive material. The other track with Ron on

vocals is High Dollar Girl which really rocks and

has a much looser feel to it. Rick was inducted

to the Las Vegas Blues Hall of Fame in 2018, this

release clearly demonstrates why although I feel

there is still more to come especially if he can

beef up his vocals.

ADRIAN BLACKLEE

128



STEADY ROLLIN

LOVE & LOSS

Independent

“Overall a mixed bag of

tunes, delivered well”

Steady Rollin, is a blues and rock trio

hailing from El Salvador. They comprise,

Fernando Poma on lead vocals and

guitar, Gerardo Pardo on bass guitar

and Benjamin Andrade on drums. This

is their first full release, ten tracks

written by Fernando relating to mostly

his experiences of the title’s emotions. I

Feel Alive, is a catchy song about young

innocent love, the band jam together

exchanging some powerful licks near

the end. Just Tell Me What to Do, has

an acoustic grounding with some fine

harmonies reminiscent of early Moody

Blues. Sweet Surrender, is an uplifting

love song with a lilting guitar solo a slow

blues number. In The End I’m Back To

Me, has a rocky edge to it, some intricate

guitar playing here. Those Dark Green

Eyes is another acoustic based tune that

builds up dynamically. When The Judgement

Comes, showcases a good rhythm

section, very dark lyrically. You’re Mystical,

is a slow folk rock ballad. Call Me

By 2, is another catchy number which

encapsulates the essence of the band,

best track. Eva And Sebi, is another soft

instrumentally strong tune, Fernando

telling the tale of unrequited love,

lyrically a tad lost in translation though.

Rachel, is the last track and certainly a

more powerful tune, some more of this

kind of power would help the sound and

tone, but the emotions of love and loss

are here. Overall a mixed bag of tunes,

delivered well, good harmonies, guitar

solos are solid.

COLIN CAMPBELL

KAZ HAWKINS

MEMORIES OF

independent

Kaz Hawkins hails from

Northern Ireland, the

same place that gave us

Van Morrison and his

first incarnation with

the band, Them, in the

1960s. Like Morrison,

she has a positively

soaring vocal delivery and a truly

wonderful blues voice that simply rips through the

ether and delivers bags of pure delight and pounding

pleasure for listeners. In recent years she has picked

up leading industry, European blues music award

nominations on numerous occasions. Now a newly

arrived resident of France, she has turned out this

genuinely glorious offering, an album that is pretty

much guaranteed to bring most to their dancing

feet with a gripping list of great standard tracks,

“never dims or drifts from

its commanding core of

molten soul music”

almost all well-known, best- loved examples of the

very best of the vintage soul-blues genre. Hawkins

is happy to admit to her own deeply held, personal

love of the late great Etta James, her primary

personal source of influence, inspiration and sisterly

survival. The album itself reflects her recently

widely acclaimed European touring set ‘Memories

of Etta James. With ten tracks featured, Hawkins

includes striking covers of Something’s Got a Hold

on Me, St Louis Blues, I Just Wanna Make Love to

You, and a neatly conceived key-shifting version of

Spoonful. Hawkins’ take on the classic, At Last, is

absolutely outstanding and captivatingly roars with

heartfelt emotion and passion, her raw, rippling

delivery working pretty well perfectly throughout.

‘Memories Of’ is no sit-back, late night easy listening

journey. No way, here we have one of those albums

that really does demand cranking up the volume

from start to finish… before possibly hitting repeat

again. An excellent release that never dims or drifts

from its commanding core of molten soul music.

Almost certainly an album of the year.

IAIN PATIENCE


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116

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