BM ISSUE 141 Sept

BLUES 

MADISON GALLOWAY | CAITLIN KRISKO | CHRISTOPHER WYZE | BETTE SMITH | JIMMY CARPENTER 

MATTERS! 

| KENNY WAYNE SHEPHERD | SHEMEKIA COPELAND | STEVE LOUW | JACK CASADY | 11 GUYS QUARTET | ELLES BAILEY | MIKE ZITO 

SEPTEMBER 2024 ISSUE 141 

BY THE FANS - FOR THE FANS 25+ YEARS STRONG 

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4 ISSUE 141 : BLUESMATTERS.COM

ELCOME 

MADISON GALLOWAY 

CAITLIN KRISKO & THE BROADCAST 

CHRISTOPHER WYZE 

BETTE SMITH 

JIMMY CARPENTER 

ALASTAIR GREENE 

KENNY WAYNE SHEPHERD 

SHEMEKIA COPELAND 

STEVE LOUW 

JACK CASADY 

ELLES BAILEY 

11 GUYS QUARTET 

MIKE ZITO

MADISON 

GALLOWAY 

COMMON PEOPLE 

Madison Galloway recently returned from a UK tour with her 

fellow countrymen The Commoners. And judging by the response 

the Canadian blues rocker received on this side of the 

pond, the artist is certainly a name to watch out for. 

Adam Kennedy 

Supplied & Chris Logan 

Madison released her eponymous debut album over the 

summer. “It’s been a great 2024. We got to go to the UK 

for the first time. So that made this year pretty awesome. 

I put out my new record, which was also really exciting. 

So, it’s been a pretty cool year; lots of big things have 

happened. I’m really happy with how the year went.” 

The artist was already acquainted with The Commoners 

before their touring endeavours together. Ross Hayes 

Citrullo from the group had worked with Madison in a 

producer capacity. “Opening for The Commoners was a 

really cool experience. I love The Commoners and I’ve 

known Ross for years,” says Madison. 

It can be a daunting experience going out on the road as a 

support act, especially on your first visit to a new overseas 

market. “You don’t know how people are going to 

react to an opening band,” declares Galloway. “But I think 

that the people were really great in the UK. There were 

always tons of people there for our set and I think the 

reaction from the people who came out was better than 

we could have expected.” 

Madison did make some observations about her UK run. 

“The music scene seems so different than Ontario, it 

seems a bit more thriving, I guess, at least in this genre of 

blues rock.” The artist also has a soft spot for some of the 

places she visited on tour. “Driving up to Edinburgh was 

gorgeous,” she says. “I just loved being in London, which I 

thought was interesting, because I was not that into the 

city kind of thing. I live in a really small town, and we don’t 

even have a bus. In my town, there are no busses.” Perhaps 

a change of scenery is on the agenda at some point 

in the future. “I thought it was really cool being in London 

though. I definitely want to go back and live in London for 

that.” 

Madison became acquainted with Ross Hayes Citrullo 

from The Commoners whilst working on her debut 

album. “I’ve known Ross since I was 18. I met him 

when I was looking for a producer to help me 

with my first full-length album, Moon and 

Mercury. And I had put out a post in our 

Toronto musicians’ group. I said, hey, I’m 

looking for a producer, I like Zeppelin. And 

I had a whole bunch of people message or 

comment back, and they said: Hey, if you 

like Zeppelin talk to Ross,” recalls Madison. 

“And so, I talked to Ross, and it was 

great, because Ross was excited about 

the music that I had brought to him, and 

I guess he believed in it. And I was really 

excited when I showed him, so that was 

really cool. We didn’t end up working 

together on that record,” confirms Madison. 

“And then we did work together on 

this most recent record.” 

But what does Ross bring to the table 

as a producer? “Working with Ross is 

really cool. He is a very talented producer, 

engineer and mixing engineer. He mixed

the whole album as well. And then the first two songs 

that we did, he was the sole engineer and producer and 

mixer on those,” explains Madison. “His artistic instinct is 

really cool, I think. And so, I’m really happy with how the 

two tunes turned out. The first one that we put out is I 

guess my biggest song on Spotify. It ended up getting on a 

Spotify editorial playlist. And I think it’s got over 150,000 

streams.” Madison adds: “Ross is kind of like a big brother 

to me. So yeah, it’s fun working with him.” 

Madison was honoured with the title of “Southern Rock 

Artist of the Year” (2023) at the prestigious Josie Music 

Awards (Nashville, TN). Speaking about the experience, 

Madison said: “I think getting an award for the music 

that you’re making is a really special experience,” said 

Madison. “Every time somebody comes up to me after the 

show or messages me or leaves a comment on Facebook 

saying that the music that I’ve written means something 

to them is the highest compliment you can get as a musician. 

The music that you’ve written has impacted somebody 

and made them feel something or mean something 

to them or help them. It is a really beautiful gift and a 

compliment as a musician. And so, getting an award for 

what you’re doing is really special.” 

Madison’s latest eponymous long player is the second 

album from the gifted 

Canadian. But would 

she agree with the old 

analogy that the second 

album is the hardest 

record for a musician? 

Perhaps it’s down to 

the amount of time 

you have to write your 

follow-up record. “It’s an 

interesting point about 

having your whole life to 

basically write your first 

album, and then with 

your next one you’ve 

only got a window to 

write it,” said Madison. 

“Now I did have a little 

bit of a longer window 

than what I’m thinking is 

going to be the case with my third album. Because I had 

put out Moon and Mercury in 2019 and this one, I put out 

Open Your Eyes and The River in 2022 and then I kept 

rolling singles out in 2023 and then the record just came 

out this year in 2024. So, I did have those couple years of 

the pandemic.” 

One of the approaches Madison embraced on her new 

album is co-writing songs. “I did a lot of co-writing, so 

that was something that was new for this record was 

having most of the songs on there be co-writes, whereas 

on Moon and Mercury, there was only one song that I 

had co-written with somebody, and it was Ron Hawkins, 

who co-produced the record with me as well. And then 

we co-wrote it, and then it was also a duet. So, he played 

and sang on it,” said Madison. “On this record, I did a lot 

of co-writing, which I think before I was a bit standoffish 

too. And I think I just wasn’t ready to co-write. I maybe 

had some fears around it, because you have to be very 

open with whoever you’re writing with. And writing 

is very personal. So, I think that was maybe a sort of 

subconscious fear like there was something that held me 

back from it.” Galloway adds: “So it was cool to have a bit 

more collaboration on that side of it. And I think we came 

up with some cool tunes.” 

With her new album out in the big wide world, Madison 

is already thinking about what comes next. “I think the 

third album will be interesting, because I’ve been writing 

a whole bunch of stuff recently, since getting back 

from the UK, and because now the record is out and now 

and we’re back from the tour, I feel like I just have more 

mental capacity to write and come up with songs. So, I’ve 

been writing more, and I made a demo of a song that I 

wrote the other day, and I’m excited,” proclaims Madison. 

“I’m excited about doing another record. I feel like, when 

you first put out the record, as soon as you think about 

putting out another one after that, it’s like - oh my gosh. 

That’s so much - I can’t even think about doing that right 

now. You’re still recovering, but now that it’s been out 

for a couple of months, and we did the tour, and I’m back 

I think I could do 

another record. I’m 

feeling more excited 

and hopeful about it.” 

The artist believes 

that each album represents 

a timestamp 

in a performer’s life. 

“You have your whole 

life to write your first 

album. Every album 

after that is sort of a 

bit more of a stamp 

of the period of your 

life, of that time,” 

explains Madison. 

“I was listening to 

the Graham Nash 

album that he did in 

1971 and a lot of the tunes on there about Joni Mitchell 

because that was that period. 

Each record is sort of a stamp of what that person’s life 

was like at that time.” 

Galloway’s interest in the blues was peaked at a young 

age. “When I was maybe 18, I worked at a radio station 

for a little bit. I had done a high school co-op there for a 

bit, and then I worked there for a little bit,” recalls Madison. 

“The production manager had kind of given me the 

role of some of the production stuff. So, there’s a blues 

show that happened on Sunday nights, and it was like, ten 

to midnight or something like that. And so, when we got 

the show, we put it into the system, and then my job was 

to check the system, I guess, to see if it was short of the 


LISTEN STATION 

 

OPEN YOUR EYES 

 

 

 

FREEDOM 

LOVE LIKE YOURS 

hour or not. And if it was, I had to just pick some tunes to put 

into the show, just to fill the hours.” 

This role resulted in Madison doing a deep dive into the 

station’s blues archives. “I would go through the blues 

catalogue and listen to all the music that we had saved in 

there. And it wasn’t a huge catalogue that the station had, 

but there were a couple of tunes that were my go-to songs, 

I guess. But there was one song I pretty much played every 

week at midnight. I thought it was really clever about this 

pick, but it’s not that humorous, but I thought I was clever 

- I liked it. I don’t know if anybody listened to the blues 

show at midnight, but if they did, what they would hear was 

Sundown by Son House. And I thought that was such a cool 

song. I really like Son House’s music.” 

With her sophomore album in the bag, and a UK tour done 

and dusted, what does the rest of the year look like for Madison 

Galloway? “The rest of the year is going to be booking 

things for the summer, and I think I might get into the studio 

as well to do a couple of songs, even if it’s just better demos 

that I can make.” Madison concludes: “I definitely hope to 

be back in the UK soon. I don’t have any hard plans yet, but 

I’d like to make some for next year. But it’s not a plan yet. It 

is a bit more of a dream at this point. But over the fall, I’ll be 

working on booking my summer, so I think that is going to be 

something that I will try and do. But we’ll see what happens. 

But I would love to be back next year for sure.” 

ISSUE 141 : BLUESMATTERS.COM 9


As Caitlin Krisco’s gorgeous speaking voice comes down the line to me from 

their current tour location in Berlin, I realise that she sounds identical to Roz 

Doyle from the legendary TV comedy show Frasier, and that’s a compliment 

indeed. Caitlin is thrilled to confirm to Blues Matters how much she and the 

band are looking forward to their upcoming UK shows. 

Andy Hughes 

Arnie Goodman 

“We can’t wait to be back with our friends in the UK, and 

we plan to be travelling to tour there pretty consistently 

for the foreseeable future. We had such a wonderful tour 

last autumn, and we’ve been counting down the weeks, 

months, and days until we can return. It will be a major 

highlight for us.” 

Early Beginnings and Musical Inspirations 

Time to recap on the beginning of Ms Krisco’s rise to the 

front of one of the most exciting blues-rock bands coming 

out of the U.S. right now. 

“I grew up in the music scene of New York City, enjoying 

all the vast variety of clubs and venues that city has to 

offer. I was singing on stages and in clubs, and pretty 

early on, I discovered that I had a passion for singing soul 

music, Motown songs. Something about that particular 

style of music really reached me. I love emoting when I 

am singing; it’s an emotional experience for me, and so 

that genre of music was very natural for me to gravitate 

towards. I just heard people like Aretha Franklin and Stevie 

Wonder and wanted to make music like that. It woke 

something up in me that will never go to sleep again.” 

A Modern Sound for a New Era 

If you listen to the band’s new EP – and you should – you 

will notice that songs like “Operator” have a complex 

and lush arrangement, with production propelling those 

soul vocals out of your speakers. It’s different from the 

standard stripped-back style of a lot of blues-rock bands. 

Caitlin explains the reasoning. 

“We love a stripped-back arrangement as a band. But 

it’s 2024, and recording has come such a long way, and 

there are so many exciting things you can explore as a 

band in the studio, in engineering and recording music. 

We wanted to make sure that our sound was modern. We 

didn’t want someone hearing our music and wondering if 

it was from 1966. But anyone listening to our music will 

know that this is contemporary, this is modern. Bands are 

history keepers; they capture things that are going on 

in the moment, and we are doing the same. We are very 

much capturing things that are going on right now.” 

The Art of Songwriting 

We move on to discussing the writing process, always a 

fascinating area of discussion when songwriters are involved. 

Caitlin is happy to share her take on that particular 

art form. 

“Being an artist means living life through a lens and 

making sure that your ears and eyes are always open and 

receptive to what is going on around you. There are songs 

inspired by other people’s stories that we have heard. 

There are songs written influenced by books I have read. 

A lot of material is drawn from our own life experiences, 

but the world is your oyster when it comes to songwriting. 

The Beatles were such an example of that; they could 

open up a box of truffles and write a song about it! I love 

it when a song is personal to me, and it connects with 

me because the writer has had a similar experience and 

makes that connection.” 

The Evolution of “Blueprints” 

Currently receiving what the radio types call ‘heavy rotation’ 

on appropriately required listening radio stations 

in the UK, the band’s Blueprints EP is gaining attention. 

Taking a mass of songs and trying to choose the best ones 

to reflect the band and encourage some sonic exploration 

is not an easy task. 

“Blueprints was an exploration for us,” Caitlin confirms. 

“I think you will notice the different sounds and styles 

happening on that record. ‘Haunted By You’ is quite different 

from ‘Operator,’ for example. We really wanted to 

explore the different styles of the music we love to make. 

We wanted to give a sense of the direction we are going 

to be heading in when we release our album. We have so 

many songs written already; we have enough material for 

two albums. We wanted to be really selective and make 

sure we had the right impact. It took a long time, but we 

managed to get it down to the six tracks that we believe 

tap into the dynamics that we possess as a band.” 

Bringing the Studio to the Stage 

The aforementioned dynamics used in the arrangement 

and production of the songs is one element that is going 

to propel the band into a rosy future, but how about trying 

to recreate that singularly identifiable atmosphere on 

stage without the studio systems to assist? 

“We are first and foremost a live band. That’s what we 

do best; it’s our bread and butter, it’s what we love best. I 


Chris Griffiths 


 

 

 

DEVIL ON YOUR SIDE 

BLUE MONDAY 

PIECE OF YOU 

 

A Diverse and Passionate Audience 

What about the audiences rocking up to enjoy the shows? 

“It really varies, which is wonderful. We are a blues-rock 

band, but we have this chameleon ability to move between 

different areas of fans. In the south in America, you 

have the Jam Rock scene, the Bluegrass scene, the Roots 

Rock scene, and we’ve been very welcomed in all of those 

different areas, across the board. The Rock scene loves 

us, the Blues scene loves us. I am very active on social 

media, and lately, we’ve been getting college girls to our 

gigs, which is wonderful because they bring a real zest for 

life with them. You could come to one of our shows and 

find a sixteen-year-old girl there with her friends, and her 

grandparents at the back having a beer, sitting at a table.” 

always tell people, if you enjoy the records, you are going 

to love the live show, because the show is where it’s at.” 

The Power of Visuals 

Alongside the musical output from Caitlin and the band 

is a diverse and entertaining range of videos to illustrate 

many of their tracks. Caitlin is a firm believer in the power 

of the visual image when it comes to enhancing a great 

song. 

“Absolutely. Music is visual; you go to see a show. We live 

in a visual world, and a lot of people enjoy visuals in consuming 

what they enjoy. Music and video are art forms, 

and they support each other. It’s about enhancing the 

experience for people who want to enjoy it in different 

ways. If you go to the Rock And Roll Hall Of Fame in New 

York, there are more outfits than instruments. It may be 

because they are easier to source, but even so, the visual 

presentation of music is a vital part of it in our modern 

world.” 

“The college girls have given me the unofficial title of ‘Big 

Sis’. I’m like a big sister, and I love that. I’m not a teenager; 

I am an adult woman, and I have the experience of being 

an adult, and it’s great to share that with younger women. 

It’s wonderful. We get young women coming to our 

shows, and I get to perform an Aretha Franklin song from 

her first album, and they will go home and check out what 

they have heard, and maybe dig into the history of the 

music they are enjoying now, and that’s really incredible.” 

Caitlin’s Favourite Songs 

Most singers have a particular favourite song in the set, 

the one they look forward to singing, and Caitlin is no 

exception. 

“When it comes to cover versions, my current favourite 

is ‘Can’t Find My Way Home’ by Blind Faith. I think Steve 

Winwood is a genius, and the lyrics really speak to a 

certain set of feelings, and the melody really plucks my 

heartstrings. The lyrics speak to a level of grief that many 

people feel, and the song gives them somewhere to put 


it. From our catalogue, ‘Haunted By You’ is my current 

favourite. It takes me to a place; I get lost in that one. It’s 

spiritual for me sometimes. Something takes over and 

makes it something a little bit different. This is such an 

amazing way to make a living; it’s the coolest job of all 

time!” 

Looking Ahead to the UK Tour 

And of course, Caitlin And The Broadcast are heading 

our way, and they are really excited because of their last 

experience playing here. Caitlin remembers it with great 

fondness. 

“Coming to the UK was really life-changing for us. To go 

to a country where enjoying going out and being with 

friends and having a pint at the pub was such a wonderful, 

vibrant experience for us as a band. People were so 

friendly to us, so kind and supportive. The shows were 

incredible. We opened up for Robert Jon And The Wreck, 

and they made us feel like we were the headline band! 

We felt like everyone here gets us, and loves the style of 

music we make. People like Joe Bonamassa and Samantha 

Fish, and the amount of time they tour in the UK, let 

us know that there is a real enthusiasm for this style of 

music. So, to be able to come over and perform our music, 

we really hope that the UK is going to be a major destination 

for us.” 

What’s Next? 

“We have the American run of shows for our album 

release, and then the band guitarist and I are doing an 

acoustic tour, breaking down the music and doing it as a 

duo. In January, we normally have a break, so this time, 

Aaron and I are doing this tour on our own. Then the 

American touring season comes round again, and hopefully 

towards the end of next year, our album will be out. 

The rodeo will continue, and we will be back to see you 

guys at least once, hopefully twice.” You are commended 

to see this band; you’ll be glad you did. 

Caitlin Krisko & The Broadcast’s “Blueprints” EP is available 

from https://ffm.to/krisko 

The band tour the UK from September 25th until October 

4th. Tickets available from www.caitlinkriskoandthebroadcast.com. 

Nick Hodgson 


CHRISTOPHER 

WYZE 

& THE TELLERS

STUCK IN 

THE MUD 

As a former owner of an advertising company, Christopher Wyze 

mastered the art of getting ahead in advertising. While building up his 

successful career in the art of persuasion, he applied a similar credo to a 

parallel creative headspace as a ‘one to watch’ blues performer. 

Paul Davies 

Arnie Goodman 

Being a former owner of an advertising company, this 

inveterate copywriter and publisher of five books on the 

subject, has built up an enviable network of connections 

in the blues scene. It’s a side passion that has become his 

overwhelming main occupation. A stalwart of the blues 

gigging scene, he fronted a versatile band playing blues 

standards for two decades and more. Now, this Wyze 

man, with his band, The Tellers, has released his debut 

solo album, Stuck In The Mud, which has garnered considerable 

praise and blues chart and radio accolades. 

But the origins of this album go further back to over two 

decades ago as he tells me: “I’ve been playing in a cover 

band for a long time, almost twenty years singing the 

blues and whatnot,” he relates. “I started picking up the 

harmonica and fooling around with it, playing it on stage 

and so forth and I decided I wanted to get good at it, so I 

went to a harmonica workshop in Clarksdale, Mississippi, 

where I met Ralph Carter. He used to play with Eddie 

Money and recorded and toured with him,” he reveals. 

“He’s a producer, musician, and also wrote and played 

with Sugaray Rayford. He’s a great dude and I got to know 

him there and he said to me, ‘Hey, you’ve got to start 

writing music’. This was seven, eight years ago. And I’m 

like, ‘man, what do I know about that?’ He adds: “I’m just 

trying to learn harp and sing blues standards and stuff 

like that.” Then an article that Wyze read caught his eye: 

“About three years ago, I saw an article in a newspaper 

about a new recording studio in Muscle Shoals, Alabama, 

and it looked cool. You stay there for the week, and they 

cook for you and treat you like you’re rock stars.” He 

smiles at the memory: “I took a picture of it with my cell 

phone, and I texted it to Ralph. I was just joking. I said, 

‘Hey, here’s where we’re going to record our album that 

you talked about’. A day or two later, I get a message from 

him, and it says, ‘Yeah, okay, when are we doing it’? And 

I’m like, holy cow! I think the guy thought I was serious. 

Well, it turns out that he was. I had never written a song 

at that point, so I started writing songs.” 

Fast forward a little...”I would say six months later, I had 

a pile of song lyrics written and I said, ‘Ralph, you’re in 

Mississippi. I’m about eight hours away in Indiana. How 

about I drive down there’? He was already there for 

another workshop. He lives in Ventura, California, but he 

does guitar workshops. I said, ‘I’ll meet you down there. 

I’ll bring my pile of lyrics and let’s see if we can make 

them into songs’. And we did.” He furthers: “We sat in 

Clarksdale, Mississippi, at a picnic table at the Shack Up 

Inn and we made songs out of them.” Keeping on top of 

the momentum, they took the next step: “Then we were 

recording in Muscle Shoals, Alabama, with studio musi- 


LISTEN 

 

SPOTIFY 

 


cians, and with Ralph Carter producing.” This greased the 

wheels of commerce as he says: “Maybe a year forward, I 

signed a record deal with Big Radio Records in Memphis, 

Tennessee. It’s run by the Phillips family. 

“That’s Sam Phillips of Sun Studios and Elvis and all that 

stuff. And his nephew, Johnny, is the guy who signed me, 

and he and his brother run it.” He continues: “At that 

point, I began working with Betsy Brown and with Blind 

Racoon, who’s a great promoter and publicist out here in 

the blues world, and we decided to put a few more blues 

songs on the album. So, we went back to Clarksdale, 

Mississippi, and recorded three more songs that are very 

blues-oriented, and I wrote one the morning of the recording 

session, because I thought I’ve got all these guys 

here, I’ve got a filmmaker here, I’ve got a recording crew.” 

“The Mississippi Delta 

just means everything 

to the blues. 

It’s ground zero” 

“If we have time, I’d like to do another song and we did, 

and I wrote a tune that me and my bass player had played 

and never did anything with and that’s how the album 

came to be.” 

The authenticity of recording in Clarksdale, Mississippi 

and Muscle Shoals is imbued in the fibre of Stuck In The 

Mud. Wyze’s deep drawl adds a further gravitas while 

interpreting these groovy tunes as he details his writing 


Old tried and tested on-the-road band mates also 

chipped in with their musical contributions: “Gerry 

Murphy, my bass player, I’ve been playing with for almost 

twenty years in bands around Indiana and the Midwest, 

he came and recorded every song and he and I wrote a 

couple of them. In fact, one of the songs, Back To Clarksdale, 

became the number one song on the blues charts 

over here,” he proudly confirms. As a blues artist, Wyze 

is heavily inspired by the legendary almost mystical 

blues atmosphere that permeates around the Clarksdale 

area as he tells me more: “I wrote almost all the lyrics in 

Clarksdale. The Mississippi Delta just means everything 

to the blues. It’s ground zero. Every day of the week, you 

walk down the streets, and half the people are from England 

or from other parts of Europe. It’s such a culturally 

and musically important place.” 

process: “I’m a writer. I’ve been a writer my whole adult 

life. I’ve been an advertising guy. And I wrote for a newspaper 

and for a magazine. I’ve written books. I’ve got five 

books in print - all non-fiction. Business stuff. But I’ve 

always loved the blues,” he declares. “When it came to the 

realisation that I wanted to write music, I’d already done 

my work learning how to be a word guy. I’d had decades 

of doing it and I wouldn’t say that I struggle trying to find 

words”. 

“The real trick for me is coming up with a story and once 

I get a story, I know how to use words.” This is evident 

throughout Stuck In The Mud in which he translates 

everyday observations with a wry wit. He continues: 

“Once I get a good story, then that’s where all the work 

is. I write all the lyrics and there’s no question that I 

collaborate with guys like Ralph Carter, and he may have 

some suggestions for the lyrics, of course. I may say, ‘Hey, 

I’m hearing something like Howlin’ Wolf or Jimmy Reed, 

and I kind of dig that groove. He’ll grab his guitar, start 

playing and maybe an hour later we’ve got a little quick 

demo and I turn on the cell phone and record it.” From 

these improvised beginnings, the songs get more serious: 

“A few months later, we’re in the studio making it happen. 

He’s written charts for the musicians, and he’s there 

directing the sessions.” It’s abundantly obvious that Chris 

is a collaborative team player as he shares: “I also wrote 

songs with Cary Hudson, who wrote the single Stuck 

In The Mud with me. It was a song that Ralph and I had 

fooled around with, and I had the lyrics, and it just wasn’t 

working. One year later, I met Cary and I said, ‘Hey, would 

you be willing to work with me on this song’? Within ten 

minutes we had it worked out and he recorded a little 

demo, in Clarksdale, Mississippi, on my phone and helped 

me adjust the lyrics. He’s just playing, and I worked out 

the melody. Then we recorded a demo three days later 

and a couple months later, we recorded the song right 

back there, in Clarksdale.” 

Given the blues provenance of Clarksdale and Muscle 

Shoals, I ask Christopher if recording and soaking up the 

historical ambience in both places helped due to them 

being epicentres of blues music? “It goes back to that 

newspaper article and I’m not sure I even thought about 

it much. I knew Muscle Shoals and saw this cool studio, 

and the guy in the article, Michael Wright, who’s the 

studio owner and engineer; he engineered and mixed 

the entire album. He said, ‘we’re open for business and 

people need to come’, and a couple of weeks later I’m 

on the phone with him and we’re booking the recording 

session and I don’t even have the songs done yet. But 

playing and loving the blues for many years and being a 

writer, I just can’t tell myself anything other than I can do 

this. So, we did it at Muscle Shoals.” He continues: “The 

reason we also went to Clarksdale is because my co-writer 

and producer of the entire album, Ralph Carter, three 

or four times a year, travels to Clarksdale, Mississippi and 

spends a week doing guitar camps, harmonica camps and 

songwriting camps. I said, ‘Hey, Ralph, I’ve got three more 

songs I want to do. You’re going to be in Clarksdale, this 

week. I could drive down there and bring Gerry our bass 

player. I know you work with a drummer out of Memphis, 

and I know Cary Hudson and he’s over in Mississippi’. 

We’re all so close it made sense for me and Jerry Murphy 

to drive there. We set up a recording studio in the Juke 

Joint Chapel and we recorded live in this big music hall 

where Kingfish recorded and filmed his 662 video.” 


 

 

 

MONEY SPENT BLUES 

CAUTION TO THE WIND 

LOOKING FOR MY BABY 

 


“The real trick for me 

is coming up with a 

story and once I get a 

story, I know how to 

use words.” 

Fronting blues standard bands for decades, whilst 

running a successful parallel business, I enquire 

which blues covers he played to prepare him for 

the success of his debut album? “Stuff like Big 

Boss Man (which is what he was in real life), They 

Call Me The Breeze, Green Onions, songs by The 

Doors and Savoy Brown and other kinds of rock 

and blues stuff and one-hit wonders for mature 

audiences. We played cool songs most people 

wouldn’t play. We’d play These Boots Are Made 

For Walking and turn it into a blues song. They 

weren’t just straight-up covers and we put our 

own spin on them. And, of course, I found myself 

able to write words. So, it all came together.” 

With Stuck In The Mud undergoing heavy rotation 

on American Blues Radio stations, Christopher 

Wyze And The Tellers has undoubtedly put a 

unique spin on the blues. 



BE

YOURSELF 

IN THE VIBRANT WORLD OF CONTEMPORARY SOUL 

AND BLUES, FEW VOICES RESONATE AS POWERFULLY 

AND AUTHENTICALLY AS THAT OF BETTE SMITH 


Shervin Lainez 

Hailing from the storied streets of Brooklyn, 

Smith channels the raw, emotive spirit of her 

roots into every note, creating a sound that is 

both timeless and fiercely modern. With a career 

that has seen her transcend the boundaries 

of genre, her music encapsulates the struggles, 

joys, and triumphs of her journey. Blues Matters 

delved into the stories behind her newest 

release, Goodthing, the influences that have 

shaped her unique sound, and the vision she 

holds for her ever-evolving musical path. Welcome 

to an intimate conversation with Bette 

Smith, where soul meets story. 

BACKGROUND STORY 

Reflecting on her roots, she recalls, “My father, 

a choir director, got me interested in music by 

having me sing on holidays and in church.” From 

the ages of five to nine, they shared “beautiful 

times, vibing in the church”. As a “little black girl 

from the Bedford-Stuyvesant neighbourhood, 

Brooklyn,” she was immersed in the sounds of 

the Apollo Theatre, where artists like James 

Brown and Gladys Knight performed. “I was like 

a bowl of hot, boiling, steaming water, steeped 

in the rich blend of church music and soul.” This 

dual influence, from her father and icons like 

Aretha Franklin, formed her musical foundation. 

Her career choice was driven by an “inherent 

love of music that makes me happy and keeps 

me happy.” Growing up, she was captivated by 

soul legends such as Otis Redding, Diana Ross, 

and The Temptations. Singing in the choir at 

age five, backed by the choir, was “a beautiful 

spiritual experience” that ignited her 

lifelong passion. 

HOW WOULD YOU DESCRIBE YOUR 

MUSICAL STYLE? 

“My style of music is based on gospel and soul. 

Blues is also integral because ‘even the president’s 

got the blues.’ I consider myself an essence 

of blues singer and love singing sad songs, 

which I communicate effectively and authentically. 

Someone once told me I have a knack for 

singing the blues. In British Columbia, I wanted 

to sing Tracy Chapman songs but was told I had 

to perform 12-bar blues to get on stage. So, I 

taught myself and became adept at it, finding 

the blues beautiful, evocative, and poetic. 

MUSIC SCENE IN BROOKLYN 

“The blues scene in Brooklyn was intense,” she 

recalls, necessitating trips over the Brooklyn 

Bridge to Harlem, where everything was happening. 

Harlem’s fierce competition was a “great 

playground for creativity,” where performers 

faced boos if they didn’t meet the high standards. 

Nights at the Apollo were particularly 

influential for her. Growing up, she was steeped 

in both this vibrant scene and the rich harmonies 

of church music—baritone, bass, soprano, 

tenor, everything. This blend of influences 

deeply shaped her. “I just started humming and 

singing to myself at every opportunity,” she says. 

Whether cleaning the house or riding the train 

from Brooklyn to Washington Heights, singing 

became her constant companion. In high school, 

she joined the choir, performing every Friday. 

These experiences sent “incredible waves” to 

her left brain, fuelling her constant flow of lyrics 

and collaborations with classmates. “My father 

would fall asleep with the radio on. My bedroom 


was right across from his. I heard constant musical waves— 

not algorithms, but constant waves of music influencing my 

psyche. It’s spilling out now that I’m singing professionally 

all over the world!” 

FIRST STAGE SHOW AND 

MUSICAL INFLUENCES 

Bette first took to the stage at five years old. At this point 

in the interview, she sang some lyrics of that song: “Beautiful 

flowers, bright with morning dew... and beautiful flowers, 

beautiful flowers. We should be like you.” She explains, 

“They taught us all these beautiful songs. It just constantly 

keeps playing in the back of my mind. Going to school, I’m 

humming; coming home from school, I’m humming and 

singing, and now it soothes me. When I feel down, I listen 

to church music, and even some soul music too, like Sam 

Cooke’s ‘A Change Is Gonna Come.’ I love that tune.” These 

songs are based on gospel and soul music, highlighting a 

connection often overlooked. “When you listen to Sam 

Cooke, he was a gospel singer with a band.” Her experiences 

reinforce this link, noting that Al Green, now a minister, 

“went back to his roots, his gospel roots.” She emphasises 

the importance of acknowledging origins: “Gospel music 

was the mother of soul music, and soul was the mother of 

rock and roll.” This deep respect for gospel’s foundational 

role underscores her musical journey and influences. 

WHAT ABOUT HER FIRST BAND? 

“I got my first band together right before the World Trade 

Centre tragedy,” she recalls, pulling musicians from local 

spots like the Red Lion in the West Village. “We’d collaborate, 

and it was just great to stand up and sing.” This tradition 

continues as she still frequents Greenwich Village in 

Manhattan. To form her first band, she placed an advert in 

the local newspaper and held auditions, resulting in lifelong 

connections. Austin, the drummer, helped organise and 

find other musicians. Initially, stage fright was a significant 

hurdle. “I had terrible stage fright,” she admits, but gradually 

overcame it by focusing on the audience. “I think about 

the audience that came to see me. They want a good time, 

and I’m just going to run out and put myself out there.” 

Drawing inspiration from icons like Tina Turner and Aretha 

Franklin, she invokes their spirits for courage. “I take the 

spirits of Tina Turner and Aretha Franklin. They help me 

spiritually.” Despite the challenges, including fatigue from 

travel, she finds energy in these rituals. “Even though I 

might be tired from flying across the ocean, I get a surge 

of energy.” Summoning the “good energy” of past legends, 

she delivers a powerful performance, believing their “fairy 

dust” aids her onstage. 

LEARNING STAGECRAFT 

“This is a story I’ve never told anybody before,” she begins. 

In 2000, she travelled to Vancouver, British Columbia, 

where she was “adopted” by local musicians. Staying at The 

Yale Hotel, she performed in various clubs and speakeasies. 

Her friend, Thedda Marie Gourley, taught her essential 

stagecraft: “focus on the audience and project myself, 

breaking down the wall between the audience and the 

performer.” Gourley emphasised being a “true entertainer,” 

engaging the audience to sing along and not remaining 

“locked in your head.” Embracing this, she learned to “say 

yes to everything” and always perform, regardless of 

circumstances, fostering a conversational connection with 

her audience. 

GOODTHING, THE NEWEST RELEASE 

We went on to discuss Bette’s new release, Goodthing. 

“The album is a collaboration with about 13 different 

artists. The Scottish gentleman, Jimmy Hogarth, produced 

this. He’s a brilliant guy. Sometimes I just think, wow, this 

man’s a genius because he took five of my original songs, 

and he didn’t rewrite them. He didn’t tinker with them. He 

just found a way to bring out the essence of what I was 

trying to emote in the song when I first wrote it.” Bette 

wrote Darkest Hour when she was about 16, but it evolved 

over time. Although inspired by various tragedies, like 

9/11, George Floyd’s murder, and Hurricane Sandy, it was 

completed during the pandemic. “The song became bigger 

than me, reflecting the importance of connections. ‘In your 

darkest hour, stay free, keep yourself well, keep holding it 

together.’ I wrote five original songs on the album, with the 

rest being collaborations, some pre-produced in London by 

Jimmy. We locked ourselves into the studio for about seven 

hours. We did stop for a lunch break and recharged with 

carrot juice, which I thought was very cute, but he helped 

me finesse the songs that I had written. He’s very easy to 

work with, a taskmaster too, because he wanted to make 

sure that the songs were perfect. Originally, my co-manager 

in the UK sent my material to him. He fell in love with 

it, like he told me, and he sent for me. I came to the UK to 

work in this beautifully decorated studio in London.” The 

album’s theme is about resilience: “I will survive, I will overcome.” 

It reflects the journey of a “strong black woman” 

determined to “overcome all obstacles.” The message is 

one of persistence: “I will succeed... never stop trying until 

I reach my goals.” Ultimately, it’s a “very human theme” of 

overcoming challenges. 

MUSICAL TRAINING 

“I studied creative arts therapy to compromise with my 

parents, who wanted me to be a nurse. The course was 

‘very beautiful’ and my ‘favourite time there,’ though it’s 

no longer offered, which I find ‘so sad.’ The most valuable 

lesson was about connection; we sat in a circle of 15-20 

people, playing instruments in drum circles and ad-libbing 


interpretations of music. I inherited my father’s ‘velvet vocal 

cords’ and trained with famous voice teachers like Seth 

Riggs and Filippo De Stefano. Riggs, known for coaching 

Stevie Wonder and Michael Jackson, provided foundational 

lessons that were transformative. Filippo described 

my vocals as ‘not sweet, not salt, not pepper, not sugar, but 

spice. You have a spicy voice. You’re like cinnamon, nutmeg, 

and cloves.’ He said to focus on artists that have that 

sound, that contralto sound, like Tina Turner, Pearl Bailey, 

and Eartha Kitt—people who have these unconventional 

voices and tones.” 

Spontaneously, Bette gave an example of her vocal talents 

and sang Amazing Grace. What an astounding voice she 

has! “My voice is an instrument. I warm up quite frequently 

in the morning when I walk my labradoodle 

to the park. I sing, hum, and do vocal exercises, 

both recorded and memorised. It’s very important 

for a singer to sing, and if not singing, you 

should be humming all day—it’s very good 

exercise. My voice is resilient. I try not to yell. I 

learned techniques in my vocal classes so that 

if I must yell, there’s a technical way to do so 

without overextending and damaging your voice, 

preventing the development of vocal nodules, 

which a lot of singers suffer from.” 

BEING ON THE ROAD 

“Travelling makes me so happy because I 

get to learn and enjoy the flavours and the 

cultures. I also try to learn to say ‘I love you’ 

in every language. I believe it’s the most 

important phrase in any language.” 

FINAL WORDS FOR THE 

BLUES MATTERS READERS 

“Keep loving the blues, keep loving the blues! 

Keep supporting blues artists around the 

world. Bette Smith is here for you, loving the 

blues. I’m coming over to play in London in 

October—see you there!” 

For further information visit: 

www.bettesmith.com 


 

GOODTHING 

 

 

 

HAPPINESS 

M.O.N.E.Y. 


JUST 

GOT 

STARTED 



Supplied 

Jimmy Carpenter is a highly respected saxophonist, 

singer-songwriter, and bandleader known for 

his dynamic performances and soulful approach to 

blues, rock, and R&B. With a career spanning several 

decades, Jimmy has earned a reputation as one of 

the most versatile and passionate musicians in the 

industry. 

His work has taken him across the globe, both 

as a solo artist and as a collaborator with some 

of the biggest names in blues music. Beyond his 

instrumental prowess, Jimmy’s deep connection 

to the music and his ability to convey emotion 

through his playing and singing have made him 

a beloved figure among fans and peers alike. 

I recently caught up with Jimmy to discuss 

his new release, Just Got Started, and 

other topics. Here’s how it went… 

BACKGROUND STORY 

From an early age, the allure of his father’s big 

band records was undeniable. “I was enamoured 

with my dad’s big band records,” Jimmy 

recalls, particularly admiring a Dave Brubeck 

album featuring the smooth saxophone tones 

of Paul Desmond. At just ten, a summer school 

opportunity allowed him to explore music, and “I immediately 

said, sax.” By twelve, his passion had solidified: 

“Yeah, this is what I’m going to do.” While life brought 

some detours, his commitment to the saxophone never 

wavered: “For the most part, that’s what I’ve done, what 

I’ve always wanted to do, and what I’m going to keep 

doing.” 

WHAT KEEPS YOU MOTIVATED? 

Doing well! It’s really about the exciting, fun, and challenging 

projects that come my way. Unlike a routine job, 

it’s never about just punching the clock. Each project is 

unique and always more demanding than I expect, which 

leaves me with a constant drive to keep going. I’m never 

finished,” he admits. “That just keeps pushing me, and I try 

to rise to the challenge.” 

JUST GOT STARTED 

We dove straight into discussing his new release, which 

features a big band sound, funk, blues, and eclectic music 

styles. “I’m super excited about this one,” Jimmy explains. 

When Mike Zito, co-owner of Gulf Coast Records and a 

longtime friend, proposed collaborating with the legendary 

producer Kid Andersen, there was no hesitation: 

“I was like, yes.” Walking into Greaseland Studios in San 

Jose, he was greeted by a stellar lineup: Jerry Jemmott 

on bass, Derrick D’Mar Martin on drums, Jim Pugh on 

keys, and Kid Andersen on guitar. “This is going to be all 

right,” he thought. Despite initial nerves about material 

readiness, advice from Albert Castiglia to “just trust 

Kid” proved true. The result was an amazing experience, 

with songs crafted with care and innovation. “It’s not 

a straight-up blues record by any stretch. I like getting 

funky; there’s blues, an Otis Rush tune, and what I think is 

a killer cover of My Babe. I’m thinking that’s an attention 


grabber. I have a deep love for the R&B soul side of things 

and a passion for songs that truly resonate. It has a kind 

of ‘70s funk vibe overall, capturing the essence we were 

aiming for.” 

Notably, Jimmy’s vocals are more prominent on this release. 

He explains, “I really put in the work,” recalling how 

the Louisiana record marked the first time he demoed 

songs at home, repeatedly singing, recording, and refining 

them. This process “really improved things for me,” 

not just for those songs but overall. With this project, he 

applied the same dedication, noting, “I’ve really tried to 

train my ear and improve my vocal performance. Working 

with Kid Andersen was fun; we recorded 7 or 8 takes 

of each song, mostly live, with whole takes kept. The 

Louisiana record wasn’t really produced,” he explains, 

recalling how they recorded everything live with no overdubs, 

except for fixing some solos. “We just did it until 

I got it right.” This time, with Kid Andersen, “we added 

horns, effects,” but it “comes across pretty much straight 

ahead.” He believes “this one’s got just the right amount 

of production on it—it’s not too much.” 

GAMBLING 

We discussed gambling, and Jimmy reflected on one occasion: 

“It’s funny, when I first came to Vegas with Tinsley 

Ellis in 1998, we drove up from L.A. We stopped at the 

first gas station in Nevada, and there were slot machines 

everywhere. I went in there while they were messing 

around, and I won like 60 bucks. Then we came to the 

casino where we were playing, and that night I won 300, 

and I’ve never won again. So, I always say it’d be quicker 

just to wad up a 20 and throw it on the floor and leave!” 

YOU GOT A CHANCE TO DO A COUPLE OF KING 

CURTIS SONGS AS WELL? 

“I’m kind of surprised I’ve never done that before,” Jimmy 

reflects, considering his long-standing admiration for 

King Curtis since he was 17. Playing alongside Jerry Jemmott, 

who worked with Curtis, was “like a big circle and 

left me just giddy watching him.” Curtis was perhaps his 

biggest influence, alongside Junior Walker, Sonny Rollins, 

and Dexter Gordon. Curtis’ percussive, aggressive style 

shaped modern music, and he believes that had Curtis 


“TO ME, SUCCESS WOULD BE 

LEARNING HOW TO HANDLE ALL 

THE THINGS I’M DOING WITHOUT 

STRESSING ABOUT IT” 


30 ISSUE 141 : BLUESMATTERS.COM 

“I JUST ROLL WITH WHATEVER 

COMES TO MIND. SOMETIMES 

IT WORKS, SOMETIMES 

IT DOESN’T”

lived, “pop music saxophone would have been much 

different.” 

BEST MUSICAL ADVICE? 

Recalling a studio session with Dr. John, Jimmy shares, “I 

was standing there with my horn, and he says, ‘Are you 

going to play that thing or just hold it?’” When Jimmy 

admitted he wasn’t really a jazz player, Dr. John replied, 

“You don’t ever tell somebody you don’t know how to do 

something. You say, ‘Hell yeah, I can do this.’” Since then, 

he’s tried to live by that advice, overcoming doubts by 

embracing confidence. 

STAGECRAFT 

“I used to always co-lead things,” Jimmy recalls, sharing 

how in previous bands, “I did some songs, the harp player 

would do some, the guitar player would do some.” Reflecting 

on his current approach, he admits, “I think about 

it,” but finds that overthinking doesn’t help. He sometimes 

makes notes to remind himself of who to thank, but 

mostly, “I just roll with whatever comes to mind. Sometimes 

it works, sometimes it doesn’t.” 

TOURING LIFE 

“After all these years, I still love to tour. Despite the physical 

challenges of ageing, I can still do it, but rising costs 

make it difficult. I sort of have to be in this state of denial 

about the financial side because my passion drives me 

to continue. For the upcoming UK run, the band lineup 

has changed, but with new members like Mike Hellier, 

Roger Innis, and Stevie Watts, this will be just fine. We’ll 

be meeting again at the Orkney Blues Festival in September. 

I’m looking forward to it; it looks wonderful, very 

interesting, and isolated! With a busy September ahead, 

including two festivals in Vegas, I’m debating whether 

to ride in the van for 12 hours or just fly up to meet the 

band. In Orkney, I get to hang out with Ian Siegal and Kyla 

Brox! I think it’s going to be a lot of fun. We’re going to do 

a special Jimmy Carpenter and Friends show on Saturday—I’m 

not exactly sure what we’re going to do, but it’ll 

be cool.” 

ORGANISING THE BIG BLUES BENDER 

“With the festival just four weeks away, I’m deeply 

immersed in preparations. It’s barrelling towards me 

at a terrifying rate. The special show, One for the Soul, 

will honour soul music’s impact on American and global 

culture. We’re enhancing the Bender Brass Band with 

strings, extra horns, and background singers. While navigating 

the challenge of writing string arrangements, it’s 

been a learning curve, but I’m getting better. Featuring 

artists like Beth Hart, Los Lobos, and Trombone Shorty, 

working on this festival has changed my life and provided 

financial security and creative freedom.” 

WHAT DOES SUCCESS MEAN IN YOUR LIFE? 

“I think most of us, when we do well, don’t think we’re 

doing well enough. Conversely, when we do badly, we’re 


just crushed. To me, success would be learning how to 

handle all the things I’m doing without stressing about it. 

Being able to juggle all these balls calmly and well would 

be my ultimate goal.” 

WHAT ABOUT THE FUTURE? 

“In the short term, I aim to release this record and get it 

off the ground! I’m hoping for a Song of the Year nomination 

and successful sales. Having signed a new deal 

with Intrepid Artists, I’m focused on building resources 

and plan to be out there more in Europe and the UK next 

year. I don’t even really have a six-month plan, but right 

now, I just want to keep making records and getting better 

at all this stuff!” 

WHAT’S THE BLUES SCENE LIKE IN LAS VEGAS? 

Though not traditionally known as a blues town, the 

Blues Society has been making strides for the past 7-8 

years. With nearly 500 members, they host four monthly 

jams in various settings, from late-night rockers to 

daytime gentler sessions. They also book touring acts like 

Nick Moss, Mark Hummel, and Carolyn Wonderland. The 

scene, once dormant, is now vibrant and growing, thanks 

to the dedicated efforts of the Blues Society board and 

members. Despite the challenges of juggling multiple 

responsibilities, there’s excitement about the progress, 

with a special nod to the Sand Dollar, a blues bar in Vegas 

since 1976, where “they never tell me what to do.” 

FINALLY, ANYTHING YOU WANT TO TELL THE 

BLUES MATTERS MAGAZINE READERS? 

“The Blues Matters public has been enormously supportive 

of me, and I very much appreciate it. The UK 

is a beautiful place to play. There’s such a diverse vibe 

everywhere that I go; it’s a little bit different. It’s English, 

or it’s Scottish, or it’s whatever it is, but it’s different! You 

know, Edinburgh is different from anywhere else, and I 

love that town, by the way!” 

For further information, visit jimmycarpenter.net 


 

 

I ONLY GAMBLE WITH MY HEART 

 

 

I HEAR YOU KNOCKING 

SOMETHING YOU GOT 



Featuring the singles 

Giants Walk the Land (with JimMoginie) 

Cruel Hand of Fate (feat. Joe Bonamassa) 

Produced by Kevin Shirley 

www.stevelouw.com

ALASTAIR GREEN 

STANDING OUT LOUD 

RUF 1310 CD 

RUF 2096 LP 

www.rufrecords.de 

www.ampeddistribution.com 

+++ NEWS +++ NEWS +++ NEWS +++ NEWS +++ 

A selfconfident Bluesrock sttement. 

Guitar virtuoso Alastair Greene has artfully managed a dynamic solo career 

while contributing to the music of notable artists such as Grammy-winner 

Alan Parsons and soul-blues Grammy nominee Sugaray Rayford. Greene‘s 

latest release, Standing Out Loud, is a commanding declaration poised to 

solidify his position as a seasoned veteran in the blues rock world. With 

a strong batch of original songs rooted in blues and southern rock traditions, 

it builds upon the momentum created by his critically acclaimed 

solo releases of recent years.

HITTING 

THE ROAD 

ALASTAIR 

GREENE 

ISSUE 140 : BLUESMATTERS.COM 37

As the morning sun crept over the Wasatch 

Mountains, bathing Salt Lake City in a warm 

glow, I found myself on a video call with one of 

the most electrifying blues-rock guitarists on 

the scene today - Alastair Greene. Our conversation 

came at the tail end of a well-deserved 

break for Greene after a blistering run of shows. 

But this road warrior’s respite would be shortlived, 

as he eagerly looked ahead to his next adventure 

- the highly anticipated Durango Blues 

Train Festival. 


Supploed 

“It’s an actual train that they’ve got,” Greene 

explained with a hint of awe. “It’s like this kind of 

little mini-festival, and it’s three days, and we’re 

playing all three days on a train.” This unique event, 

which sells out within an hour of tickets going on 

sale each year, will have Greene and his band performing 

high-octane blues rock while the locomotive 

chugs through the scenic Colorado wilderness. 

A LOVE AFFAIR WITH LONDON 

It’s exactly the type of one-of-a-kind experience 

that fuels Greene’s passion for life on the road. 

Despite being a touring machine who has crisscrossed 

the globe many times over, he still marvels 

at the iconic imagery of places like London, where 

he’s scheduled to return in October. “As an American, 

you can’t help but want to take a selfie every 

time you see one of those old red phone booths,” 

he chuckled. 

Of course, Greene’s love for the UK runs far deeper 

than just its photogenic landmarks. It’s a place 

that has embraced his fiery fretwork with open 

arms, with raucous sold-out shows at legendary 

venues like the Slaughtered Lamb under his belt. 

“It was packed, a nice small funky club underneath 

the restaurant, and we had a fantastic time,” he 

reminisced about that particular London gig. 



HONOURING THE HALLOWED STAGES 

His forthcoming return to England in the fall will 

include a stop at the 229 Club, as well as a revisiting 

of the hallowed 100 Club stage where he previously 

shared the bill with blues harmonica master 

Sugar Ray Rayford back in 2019. For a musician 

so steeped in blues tradition, playing in the same 

rooms as his heroes is the ultimate honour. 

“STANDING OUT LOUD” - 

A MASTERFUL HOMAGE 

Greene’s latest album, the critically acclaimed 

“Standing Out Loud,” is a masterful homage to 

those very blues rock pioneers that shaped his 

signature sound. “My mission statement for this 

record was, I want to try and create an album that 

sounds like a lot of the music that inspired me to 

get into blues,” he explained. 

Tracks like the electrifying album-closer “Bullfrog 

Blues” are a tip of the cap to guitar gods like Rory 

Gallagher, whose primal slide work left an indelible 

mark on Greene’s playing. “Rory was one of these 

guys that kind of sparked that fire,” he said of Gallagher’s 

profound influence. “When I heard him, I 

resonated with how he approached things.” 

CAPTURING THE 70S SOUND 

To capture that classic 70s vibe, Greene headed 

to the musical meccas of Nashville and Austin to 

record “Standing Out Loud” using vintage gear and 

techniques from that hallowed era. “I wanted it to 

sound sonically like an older record, like something 

that would have been put out in the early 70s,” he 

explained. 

While most of the album came together at Nashville’s 

famed Simo Sound with producer JD Simo, 

Greene made sure to imbue it with Austin’s distinct 

flavor as well by finishing a few tracks at that 

city’s legendary studios. He dreams of potentially 

recording future efforts in blues hotbeds like Chicago, 

New Orleans, and Memphis to incorporate 

even more regional flair. 

EMBRACING LOCAL CULTURE 

For Greene, connecting with the rich cultural fabric 

of each town is just as important as laying down 

scorching licks in the studio. “I try to make a point 

to get out and see some things, especially if I’m in 

Europe or the UK,” he said. “As much as finances 

mean something to me, so does experiencing some 

culture.” 

However, the relentless touring grind makes it 

extremely difficult to go beyond just hitting the 

stage night after night. “Unless you’ve got days 

off, you’re pretty much hotel, venue, maybe grab 

a bite across the street before the show,” Greene 

lamented. He cherishes any opportunity to extend 

his stay like he plans to do in London this fall to go 

deeper than just the tourist traps. 

A CULINARY LOVE AFFAIR WITH LONDON 

One experience he’s particularly eager to soak in is 

London’s iconic food scene, having already developed 

an affinity for local delicacies like mushy 

peas during previous tours. “I have never had a 

bad meal in London,” Greene raved. “What are you 

guys talking about?” 

While he may struggle with the polarizing Marmite, 

a staple spread that he describes as “you either 

love it or hate it,” Greene has fully embraced 

England’s rich culinary traditions. After all, he’s a 

man who savours absorbing the authentic flavors 

of the countless cities and towns he’s visited over 

his globetrotting career. 

CAPTURING THE LIVE LIGHTNING 

That pursuit of keeping things authentic and raw 

extends to Greene’s live performances, which have 

fans clamoring for a new live album to relive the 

blistering shows. “Some people want to go ‘If you 

have anything live that you’ve released,’ because 

I think it makes them feel closer to the show,” he 

explained of that persistent request. 


“I WANT TO TRY AND 

CREATE AN ALBUM THAT 

SOUNDS LIKE A LOT OF THE 

MUSIC THAT INSPIRED ME 

TO GET INTO BLUES” 


A live record could be the perfect way to bottle the lightning 

that Greene and his band have been conjuring on stage 

every night. It would certainly be a fitting follow-up to 

“Standing Out Loud,” which has already cemented Greene’s 

status as a torchbearer for the blues rock tradition. 

THE ACOUSTIC MUSE 

While he’s already achieved incredible success at a relatively 

young age, Greene remains driven to constantly explore 

new creative avenues. One possibility that intrigues him 

is recording an acoustic blues album, which would be a 

full-circle moment of sorts. 

“I’ve written a lot of songs on acoustic guitar, and there’s 

a wealth of amazing acoustic music out there,” Greene 

explained. “I do love that music, and it influenced how I play 

electric guitar with my fingers and whatnot.” 

An acoustic effort could allow Greene to pay homage to the 

seminal blues artists that inspired his musical awakening as 

an upstart guitarist. It would also give him a chance to reinterpret 

his catalog and the classics through a rawboned, 

stripped-down lens. 

THE NEVER-ENDING JOURNEY 

No matter which direction his insatiable artistic curiosity 

takes him, one thing is certain - Alastair Greene’s passion 

for blues and blues rock burns as bright as his incendiary 

fretwork. With the Durango Blues Train and a triumphant 

return to London on the horizon, this is shaping up to be 

another landmark year in the career of one of the genre’s 

most electrifying performers. 

As our conversation wrapped up, Greene made it clear he 

was just getting started on this journey. “Thank you for 

doing this,” he said graciously. “I’m really grateful.” 

His appreciation for the opportunity to connect through 

an in-depth feature mirrored my excitement to shed light 

on such a vital voice in modern blues rock. While Alastair 

Greene’s next destination may be cloaked in mystery, one 

thing is assured - the road will forever be his inspiration. 


 

 

 

SLOW BURN 

RUSTY DAGGER 

YOU CAN’T FOOL ME 

 

“THERE’S A WEALTH OF AMAZING 

ACOUSTIC MUSIC OUT THERE” 



KENNY WAYNE 

SHEPHERD 

Kenny Wayne Shepherd, celebrated for his electrifying guitar 

skills and soulful blues vocals, has become a major figure in the 

modern blues-rock scene. With over two decades of experience, 

Shepherd has mesmerized audiences worldwide by blending 

classic blues with a modern edge. 


Mark Selinger 

In this interview, we explore the inspirations behind 

his latest album, Dirt On My Diamonds Volume 2, his 

journey as a self-taught musician, and his views on the 

evolution of the blues genre. Speaking with him via 

Zoom from his home in Tennessee, here’s what he had 

to say... 

HOW DID YOUR RECENT U.S. TOUR GO? 

We intentionally had a slow summer after working 

hard over the past two years, which allowed for some 

family time with my wife and kids. Despite the break, 

our recent shows were fantastic, with packed and excited 

crowds. We had a great time, and we’ll be back on 

the road next weekend for about ten days. I think we’ve 

struck a good balance between touring and family time. 

I’ve learned that five weeks is the maximum I can be 

away before needing to reconnect with the family. We 

generally keep tours to 2-3 weeks, maybe four, followed 

by a break to spend time at home before heading 

out again. 

TELL US ABOUT YOUR BACKGROUND 

My dad worked in radio, so I grew up in that environment. 

He was the programme director and on-air 

personality at the hottest station in town, which meant 

I was exposed to music 24/7. I attended every concert 

with his tickets and backstage passes, meeting lots of 

musicians and seeing behind the scenes of the touring 

industry. My first concert was Muddy Waters and John 

Lee Hooker when I was just three years old, which 

sparked my love for the blues. I was exposed to all kinds 

of genres—country, rock, blues, funk. At four, I got my 

first toy guitar, but seeing Stevie Ray Vaughan and 

Double Trouble at seven was life-changing. It inspired 

me to play guitar with the same passion and intensity 

as Stevie. I got my first electric guitar at seven, played 

for hours every day, performed on stage at 13, recorded 

my first demo at 14, formed a band at 15, signed a 

record deal at 16, and recorded my first album at 17. 

After graduating high school at 18, I hit the road, and 

the rest is history! 

WHAT KEEPS YOU MOTIVATED AFTER 30 YEARS IN 

THE BUSINESS? 

I love making music and entertaining people. Recording 

and writing are passions, but the real goal for me is 

being on stage and performing for people. That’s what 

drives me. We’ve built a fan base over 30 years, 

and many have been with us the whole time. At 

shows, I often ask how many in the audience 

have seen us before—usually about half the 

room—and how many are seeing us for 

the first time. That’s usually the other 

half, so we’re still reaching new people 

every night! That’s another thing 

that keeps me motivated—we’re 

constantly reaching new ears. 

We wouldn’t be here without the 

people who keep coming back, 

but it’s always amazing to meet 

new fans. 

WHERE DID YOU LEARN YOUR 

STAGECRAFT? 

I learned by watching all those bands as 

a kid and absorbing their performances. 

Initially, I was really shy, hiding behind 

my long blonde hair and focusing only 

on the guitar—there wasn’t much 

showmanship. But as my confidence 

grew, I became more comfortable 

on stage and started 



 

I GOT A WOMAN 

 

 

 

NEVER MADE IT TO MEMPHIS 

DIRT ON MY DIAMONDS

to entertain more. Influences include legends like James 

Brown, one of the greatest entertainers of all time, the 

Rolling Stones, and videos of Jimi Hendrix and all the wild 

things he’d do on stage. These experiences shaped how I 

work the stage and perform for the audience. 

YOU’RE KNOWN AS A GUITARIST—WHEN DID YOU GAIN 

THE CONFIDENCE TO SING AS WELL? 

I sang one song, Riverside, on my first album but was reluctant 

because my voice didn’t match my guitar abilities. 

When I sang, I sounded like a kid, unlike my guitar playing. 

I had high standards for my music, and my voice didn’t 

meet them. On later records, I sang background vocals, 

easing into it. By my fourth album, I felt it was time to 

give it a shot. Now, I sing 50% of the lead vocals, alongside 

Noah Hunt, whose different voice gives us a broader 

range of material to perform. 

WHAT’S THE BEST CAREER ADVICE YOU’VE RECEIVED? 

Stevie Ray Vaughan signed my first Stratocaster when 

I was thirteen. He wrote on it: “Kenny, just play it with 

all your heart.” That’s what I strive to do in all my shows. 

Another hero, Hubert Sumlin, said, “If I’m feeling it, then 

you have to feel it!” 

YOU WERE ONCE THE NEW BREED OF BLUES MUSI- 

CIANS—ARE YOU NOW A BLUES LEGEND CARRYING THE 

GENRE FORWARD? 

The reality is, if you’re lucky enough to live long enough, 

you inevitably become the older generation. It’s better 

than the alternative! Joe Bonamassa and I recently talked 

about how we’ve gone from being the young guys to 

becoming the older generation. It’s exciting to watch the 

next young generation come up, like Christone Ingram 

and DK Harrell. Now I understand why people like B.B. 

King were welcoming to us—they were happy to see 

young people contributing to the genre. I feel the same 

way now. It’s weird, though, as I used to be the youngest 

guy in my band, but now the horn players are younger 

than I am! I’ve used horns on a few songs over the years, 

but it really started on a more permanent basis with The 

Traveler album in 2019. It added a new dynamic to the 

stage and for the fans. We did the Trouble Is 25th anniversary 

tour with horns for part of it, and now I’ve included 

a lot of horns on the Dirt On My Diamonds albums. 

HOW DID IT FEEL RE-RECORDING TROUBLE IS FOR ITS 

25TH ANNIVERSARY? 

It was a trip down memory lane, bringing back so many 

memories for everyone, as we had almost the entire 

original group back together, except for Tommy Shannon. 

Everyone who played on that record played on the 

new version. I felt a deep sense of gratitude because we 

accomplished so much with that album. Songs like Blue 

on Black were incredibly important to so many people. 

Reflecting on it, I was 19 when it all happened—it’s incredible, 

and I’m truly grateful to have been a part of it. 

HOW HAS YOUR MUSIC EVOLVED? 

We experiment with all kinds of things, taking the music 

in many directions. But the blues is always the foundation 

of everything we do, and it always will be. If we stray too 

far from that, we inevitably come back and make a traditional 

blues album for those who want to hear us play just 

the blues. Blues rock seems to be the style that’s stuck, 

which makes sense as my early success was at rock radio. 

My first single reached number five on the mainstream 

rock charts, and Blue on Black set records for most weeks 

at number one on the mainstream rock chart. My inclination 

is to mix blues with rock, as they are directly related. 

Recent music shows a lot of different influences, including 

country, funk, and R&B. This diversity reflects all the 

music I grew up listening to and keeps things interesting. I 

aim for each record to surprise fans so they don’t feel like 

they already know what it’s going to sound like. Reflecting 

on the industry, I feel torn because I got in right at the 

end of what I think was the golden age of making records 

and the radio industry. It was an exciting time. Now, it’s 

hard to quantify success with the complicated math of 

today’s music industry! 

WHAT WAS THE PROCESS BEHIND MAKING DIRT ON MY 

DIAMONDS VOLUME 2? 

I had written a lot of songs and started recording, realising 

two different albums were taking shape. Instead 

of releasing them as two completely separate albums, I 

thought it would be more compelling to make them companion 

pieces and release them as Volume 1 and Volume 

2 within 12 months. This approach is about doing something 

different and engaging the fans in new and different 

ways. Nowadays, it’s all about providing your fans with 

more content on a more regular basis, often with singles. 

However, I believe in making albums that take people on 

a musical journey. Releasing singles feels like releasing 

one chapter at a time from a book, or one scene at a time 

from a movie. Despite the trend, I like albums and hope 

listeners will listen to the record from beginning to end. 

My songwriting process varies with every song, but 90% 

of the time it starts with the music, whether it’s a guitar 

riff or a groove. Then we’ll sit down with the people 

I write with and start honing in on the lyrics and vocal 

melody. But most of the time, I’ll just walk in the room 

and start playing, “Hey, what do you guys think of this?” If 

everyone digs it, we start working on that. 

LET’S TALK ABOUT SOME OF THE TRACKS ON THE ALBUM 


I Got A Woman: My recent songs focus more on praising 

women rather than the typical blues theme of relationship 

troubles. I wanted to glorify her and highlight all 

the great things about her, leaning towards the positive 

side to affect people in a positive way. Music should be 

about making people feel good. I’m a fan of connecting 

dots from previous records. Lyrics from different albums 

often reference each other, like Dirt on My Diamonds 

tying back to Diamonds and Gold. I Got a Woman connects 

to Woman Like You. This creates a narrative where 

the same guy has now found his woman who “stops 

everything in a room.” 

She Loves My Automobile: I love Billy Gibbons, ZZ Top, 

and cars. Billy and I share a passion for automobiles, and 

this is one of my favourite ZZ Top songs because he does 

such a good job of combining music and his love for cars. 

It just seemed appropriate to include it. 

Watch You Go: This is a typical tongue-in-cheek, fun 

blues song—something to make you laugh and have 

a little fun. You can figure that one out by reading 

the lyrics. 

HOW DO YOU MAKE THE BLUES GENRE AC- 

CESSIBLE TO A YOUNGER AUDIENCE? 

Young people were curious because I was 

their age, making my music relatable and 

fresh. Now, they discover blues through 

my story, seeing that a young person 

became successful. My music still 

feels energetic, fresh, and unexpected, 

offering a young, fresh approach 

to the blues genre. 

WHAT ARE YOUR FUTURE PLANS? 

I’m working on four different albums 

right now, so there’s no shortage of 

material and new music. I’ll keep making 

new music, starting another record as 

soon as I finish one. I’m in a great creative 

headspace and collaborating with an incredible 

bluesman named Bobby Rush. 

LASTLY, DO YOU HAVE A MESSAGE FOR BLUES 

MATTERS MAGAZINE READERS? 

I know a lot of your readers have been with me for a 

long time. People who read your publication are true fans 

of blues music. I don’t like the idea that blues music is on 

life support—it’s continuing to flourish. It’s been around 

for over 100 years and it’s not going anywhere. But it is 

important to continue supporting the artists who make 

this kind of music and turn our friends onto it to make 

new fans. That’s the only way anything grows. So we 

appreciate all the hard work and support from fans of 

your publication and people like you, who help us thrive 

in what we do. 

For more information, visit: kennywayneshepherd.net. 



BLAME IT ON EVE 

AN INTERVIEW WITH SHEMEKIA COPELAND 

Shemekia Copeland is a powerhouse vocalist and a defining voice in contemporary 

blues. With her dynamic stage presence and soulful delivery, she has 

captivated audiences since the late 1990s. Born into a musical family as the 

daughter of Texas blues legend Johnny Copeland, Shemekia has carved out 

her own path, blending traditional blues with rock, soul, and Americana. 


Supplied 

Over the years, she has earned numerous accolades, 

including multiple Blues Music Awards and Grammy 

nominations, solidifying her status as a leading light in 

the genre. As her artistry evolves, Shemekia Copeland 

remains a vital and inspiring force in modern music. We 

discussed her musical journey, her 

newest release, Blame It On Eve, 

and more. She was in New York at 

the time. 

SHEMEKIA’S MUSICAL 

JOURNEY 

“I grew up around music, with my 

dad sitting around the house playing 

songs on his Ovation guitar— 

Jimmy Reed, Hank Williams, T-Bone 

Walker, and of course, Johnny Copeland 

songs. I listened to him write music and play, 

even when he was just in his underwear. That 

was my first introduction to music. At three years old, I 

started to sing along with him, and I loved it. Although I 

didn’t realize it at the time, watching my father’s career 

shaped my life. Ironically, I always thought I’d never want 

to do this; it seemed crazy to travel all over the world and 

stand on stage in front of so many people. But years later, 

I became that crazy person who loves it! I started going 

out with my dad when I was about nine or ten, just sitting 

in and singing a song with him. Although I was nervous at 

first, I grew to love it. As I’ve aged, being on stage has become 

more comfortable because the more secure you are 

in yourself, the better it feels. When I go on stage now, I 

give it 200% and try to be the best Shemekia I can be!” 

BEST MUSICAL ADVICE YOU’VE HAD? 

“My father always had it right. He would go on stage and 

give it everything he had. He also advised me never to 

read the press. He said, if you read the good stuff, you 

become cocky and arrogant, and if you read the bad, you 

become bitter and angry. I truly believe this advice helps 

keep you humble. You have to remember that your career 

could be here today and gone tomorrow, so enjoy the 

moment.” 


“My dad, for sure—I thought he had one of the best voices 

ever. My mom also had a beautiful voice, though she was 

never a professional singer. I admired Koko Taylor, Ruth 

Brown, and gospel singers, especially the male quartets. 

As a kid, I wanted to sound like a man! That’s why I loved 

Koko’s voice, which was rough and raw, like Tina Turner’s 

or Big Maybelle’s. Howlin’ Wolf had a cool voice too. I 

pride myself on being unique—when I sing, I want people 

to instantly recognize me as Shemekia.” 

ADVICE FOR ASPIRING MUSICIANS 

“I’d say don’t get into the business if you don’t really love 

it because the music business sucks. We do this because 

we get to perform, travel, and meet amazing people. 

That’s the best part. But the business itself is pretty 

terrible.” 

DO YOU STILL ENJOY TOURING LIFE? 

“I don’t really love touring anymore. For me, touring 

means being on the road for a very long time, and that’s 

not something I want to do now that I have a little one at 

home. I love being at home, so I prefer to go out, do my 

shows, meet the people, and then come back home. Being 

out on the road for weeks at a time is no longer for me.” 

LAST TIME WE SPOKE, YOU HAD JUST 


PLAYED THE OPEN AIR BLUES FESTIVAL IN 

BREZOI. HOW WAS IT? 

“I loved it! It was my second time in Romania and my 

first time at that festival. The audience was awesome. 

Even though it was more of a rock crowd, they loved and 

accepted what I was doing.” 

DOES BLUES MUSIC MATTER TO A YOUNGER 

GENERATION? 

“I think so. When I see young African American kids like 

Kingfish, D.K. Harrell, Jontavious Willis, Stephen Hull, 

and Mathias Latin playing blues, it makes me happy. 

They’re studying, loving the music, and getting it.” 

BLAME IT ON EVE – 

THE RECORDING PROCESS 

“When I make an album, I want to listen to the songs in 

order, like when I first listened to vinyl. Although there 

are many ways to listen to music now, that’s important 

to me. My last three records were serious, but this one is 

a departure. It has a lighter feel, though I’m still dealing 

with important issues—like women’s rights and climate 

change, which are big for me. I even included an educational 

song, ‘Tee Tot Payne,’ which makes me happy.” 

TRACK TALK 

Blame It On Eve: 

“With all the rights being taken away from women in 

America, I felt the need to address that in a way that people 

could accept. This song does that.” 

Tough Mother: “I’ve been through a lot, especially in recent 

years. This song covers some of it, which is great.” 

Broken High Heels: “This song addresses climate change 

and deniers. We see the world changing, but nobody 

seems to care.” 

Down On Bended Knee: 

“One of my dad’s songs—singing it makes me feel like he’s 

wrapping a warm blanket around me.” 

Heaven Help Us All: 

“I wanted to break this song down, make it smaller, and 

let the words speak for themselves. The lyric ‘heaven help 

us all’ really resonates today.” 

SONGWRITING PROCESS 

“Lyrics always come first, then the music. John Hahn, 

Will Kimbrough, and I are like a dream team—we’re so 

like-minded that we can finish each other’s sentences. 

Our relationship is pretty wonderful. Since making blues 

records doesn’t involve a lot of money, we have many 

conversations before entering the studio to ensure we’re 

well-prepared. We don’t waste time or money on extra 

songs that won’t make it on the album. I love being live 

with the band in the studio—it’s more authentic.” 

WHAT MAKES A GOOD SONG? 

“The truth. That’s what makes a good song—the truth and 

how it makes a person feel. I’m a blues singer at heart, but 

I do American roots music. I pull from country, bluegrass, 

gospel, soul—just all American roots music.” 

WHAT DOES THE BLUES MEAN TO YOU? 

“My daddy used to say, ‘If it wasn’t for the blues, I 

wouldn’t weigh over ninety pounds.’ For me, it’s meant 

everything—it’s a lifeline.” 

“THE LYRIC 

‘HEAVEN HELP 

US ALL’ REALLY 

RESONATES 

TODAY” 


WHAT WOULD YOU MEASURE AS SUCCESS 

IN YOUR LIFE? 

“Being a mom and doing what you love for a living—that’s 

success for me. I think we all struggle with waking up 

and choosing to be happy. But I choose to see the glass 

as half full. If I weren’t a musician, I’d be a radio DJ, which 

I’ve been doing for five years now on Sirius XM. I love it 

because it’s another way to connect with people.” 

FINALLY, WHAT DO YOU WANT TO SAY TO 

THE BLUES MATTERS READERSHIP? 

“You’re lucky to have Blues Matters! It’s an amazing magazine 

and outlet for real music fans. Be grateful you have 

it because without it, you might not hear about artists like 

Shemekia Copeland!” 

For more information, visit shemekiacopeland.com. 


 

 

 

TOUGH MOTHER 

BROKEN HIGH HEELS 

TELL THE DEVIL 

 


NEW ALBUM 

“PURE ENERGY AND 

ROOTSY-BLUES SASS” 

-MusicOntario 

OUT NOW

TELL MY FRIEND: SKIP JAMES 

Despite his name being mentioned in one of the most 

iconic Blues songs of all time and having played with such 

luminaries as Son House and Skip James, while also being 

a close confidant of Robert Johnson, little is known about 

Willie Brown. The details of his birth are among the many 

mysteries that have followed him throughout his musical 

journey. 

Depending on who you believe, he was born in either 

1899 or 1900. What we do know is that he was born on 

6th August in Shelby, Mississippi. Throughout his career, 

Willie Brown always played guitar and occasionally sang. 

Most of his time was spent as what can only be described 

as a sideman, a sort of backup guitarist for other musicians. 

Despite this, Willie Brown’s influence on Blues 

music is far greater than one might imagine. 

The details surrounding Willie Brown’s life are sketchy 

at best. Rumour has it that he married Josie Mills, also a 

Blues guitarist, at the tender age of 10 or 11. It’s hard to 

imagine someone marrying so young, but this was well 

over a century ago. It’s unclear when he began teaming 

up with other musicians, but he played a significant role in 

the musical development of Charley Patton, Son House, 

and, slightly later, Robert Johnson. 

Throughout his career, Willie Brown is reported to have 

recorded only six tracks under his own name, which 

equates to just three singles (a track on each side). This 

seems almost unbelievable given that his career spanned 

nearly four decades. These recordings were all made for 

Paramount Records, but there are supposedly another 

ten tracks that have never surfaced. What became of 

them remains a mystery, and it’s a pity they may never 

see the light of day. 

Willie Brown lived in Robinsonville, Mississippi, for most 

of his life, playing with various local musicians. Though 

he didn’t earn much money, he made enough to scrape 

a living. He disappeared from the music scene for many 

years, but according to Alan Lomax, he made some more 

recordings around 1942. Lomax insists that this was the 

same Willie Brown who had recorded for Paramount all 

those years earlier. Whether this is true, we may never 

know, but it adds to the scepticism and intrigue surrounding 

the Willie Brown myth. 

The story goes that Son House and Willie Brown were 

playing at a juke joint somewhere in Mississippi when 

Robert Johnson, who had long admired both men, walked 

in. According to legend—and this is where the legend of 

both men was born—Johnson kept asking if he could sit in 

and play while they were on a break. They obliged once, 

but the reception from the audience did him no favours; 

in fact, he was booed off the stage. Undeterred, Johnson 

returned but was again poorly received, with Son House 

saying, “You’re just noising the people.” Johnson then 

disappeared for twelve months, setting the stage for 

another legendary tale. 

When Johnson returned some twelve months later, Willie 

Brown was written into Blues folklore. Johnson blew 

everyone away with his playing, leaving people speechless 

at how he had surpassed both Brown and House 

in such a short time. How could he have become that 

good so quickly? This set the stage for Brown to become 

immortalised. 

The song in question, “Cross Road Blues,” contains the 

immortal lines, “You can run, you can run, tell my friend 

poor Willie Brown. You can run, tell my friend-boy Willie 

Brown.” There is some mystery surrounding this lyric— 

what was Robert Johnson talking about? Some believe 

that Johnson instructed someone—though we’ll never 

know who—that in the event of his death, Willie Brown 

should be told immediately. But why only Willie Brown? 

This suggests that Johnson and Brown were closer than 

people imagined. 

I have long believed that Johnson, in writing his 29 

songs, was, in fact, writing his own obituary. But where 

does Willie Brown fit into the story? Perhaps the fateful 

night when Johnson wanted to join in with him and Son 

House had a greater effect on both men than anyone has 

realised. There is clearly much more to Willie Brown than 

meets the eye. But why did he only record six tracks? 

Why did he fall into relative obscurity for so many years? 

And when Alan Lomax wanted to record him again, what 

happened to those recordings? 

W. C. Handy is well known as the grandfather of the 

Blues. In fact, Brown and Handy crossed paths at the 

very beginning of the Blues’ emergence around the turn 

of the last century. According to Handy’s autobiography, 

Father of the Blues, he remarked, “While sleeping on 

the cobblestones in St. Louis, I heard shabby guitarists 

picking a tune called ‘East St. Louis’. It had numerous 

one-line verses that they would sing all night.” One of 

those shabby guitarists was Willie Brown. If Handy is to 

be believed—and there’s no reason to doubt him—Willie 

Brown inadvertently helped to write the Handy classic, 

“St. Louis Blues.” 

Willie Brown passed away on 30th December 1952. His 

grave is located at Shepherd’s Church, Prichard, Mississippi. 

STEVE HARRISON 


THE ALL-NEW 

BLUES MATTERS 

PODCAST 

Listen to some amazing interviews with 

the artists we’ve been lucky enough to 

speak to for the magazine. 

 

 

 

 

SUE FOLEY 

Paul Davies sits down with acclaimed blues guitarist and singer-songwriter 

Sue Foley. Join us as they discuss her latest album, 

One Guitar Woman, and her experiences touring as a solo artist. 

AMIGO THE DEVIL 

This episode features a very special guest, Amigo The Devil, the 

acclaimed dark folk singer-songwriter known for his haunting 

melodies and compelling lyrics. 

TROY REDFERN 

In this exclusive interview, Paul Davies sits down with 

Troy Redfern to explore the inspiration behind his electrifying 

new album, Invocation. 

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manchester 

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Roots Rock & Roll 

on tour from the usa! 

www.caitlinkriskoandthebroadcast.com 

the 1865 

the old brewery store 

the cluny 

night & day cafE 

tuesday music club 

the bodega 

the grace 

the louisiana

NOW IS THE TIME FOR 

STEVELOUW 

Steve Louw has been a prominent figure on the South African music scene for 

well over four decades. Since his 2021 comeback album Headlight Dreams 

and its follow-up Thunder And Rain, his reputation has started to go global. 

His new double album, Between Time, will further cement Steve’s position as 

a world-class songwriter and performer. 

Steve Yourglivch 

Jacqui van Staden 

Along the way, he has paid his dues, leading successful 

bands through the dark days of the 1980s in South 

Africa and forming Big Sky, whose album Waiting For The 

Dawn became a rock classic in South Africa. Steve also 

played a significant part in the amazing Rodriguez story, 

as documented in the award-winning film Searching For 

Sugarman, and collaborated with Brian May and Dave 

Stewart for the 46664 Aids Awareness project inspired 

by Mandela. 

FROM BIG SKY TO HEADLIGHT DREAMS: A LONG HIATUS 

I started by asking Steve about the big gap between the 

last Big Sky record in 2008 and the release of Headlight 

Dreams. 

“Yeah, the last Big Sky album was when I was signed to 

Sony South Africa, but then the people there who championed 

me left. After that, I basically didn’t have a record 

deal, so I stopped making albums. Then Kevin Shirley 

suggested we work together again. We had always kept 

in touch, and he persuaded me to record again. The 

record turned out well, and I managed to get another deal 

through Sony. They liked what they heard, so I’m kinda 

back in the business!” 

A PROLIFIC RETURN TO MUSIC 

It certainly seems that Steve is making up for lost time, 

releasing two well-rounded albums over a two-year period 

and then following that with a twenty-track 

double studio album. I expressed my surprise 

at him releasing a double. 

“I’m surprised too!” he laughed. “Some songs 

were before Headlight Dreams, others are 

new. Now I know the band I’m working with, so 

I kinda know how they are going to work out. We 

made Headlight Dreams, and three days later, lockdown 

happened, so I wrote a lot in 2020/21. When it came to 

sequencing the album, we kept going back and forth, so I 

felt if they didn’t get released now, they probably never 

would. I’ve spent a long time sequencing the four vinyl 

sides, and I’m really happy that we did.” 

A LONGSTANDING PARTNERSHIP WITH KEVIN SHIRLEY 

Kevin Shirley has been a significant part of Steve’s musical 

journey, and the two have known each other since the 

early ‘80s, long before Kevin became the go-to producer 

for Joe Bonamassa and other big names. 

“I’ve actually known Kevin since 1980/81. Before he 

was a producer, we were in bands together. He’s gone on 

to have a phenomenal career. He produced The Killing 

Floor, the second album of my band All Night Radio, and 

the first Big Sky album Waiting For The Dawn.” 

Kevin Shirley surrounded Steve with an amazingly talented 

group of musicians, most of whom have worked on 

albums with Kevin for other artists. 



“You have to be well prepared. These guys are so good, 

it’s unreal. Greg Morrow on drums, for instance, is like 

a human metronome. It’s much easier now that they 

understand the music, and that reflects too. You need to 

catch the magic—it has to sound organic, not just session 

players going through the motions. That’s why I play it 

to them like a fully committed gig. If I’m not fully into my 

music, why would they be?” 

THE THEMES BEHIND THE TRACKS 

There are a lot of wonderful tracks on this album, not 

least the first single, Giants Walk The Land. 

“There is some great guitar on that courtesy of Jim 

Moginie, who was a founding member of Midnight Oil. 

It’s a very spiritual track because it’s about the earth and 

what we are doing to it as people. The environment is important 

to me. I think the last 50 to 100 years have been 

cataclysmic for the planet.” 

DIVERSE SOUNDS, UNIFIED VISION 

The songs that make up the entire album are diverse— 

blues, rock, and Americana—but there’s no little skill 

in getting them all to hang together. I wondered about 

Steve’s writing process. 

“Every song to me is a gift that comes from someplace. 

The key to writing a song is to be open to what’s coming 

into you and also to the music. Be a conduit for what the 

universe is sending to you. The songs manifest themselves 

to you, and then you can knock them into shape. 

You need your fishing line in the water!” 

THE MAKING OF HIGHWAY TO THE SUN AND KILLERS 

I asked about the closing track Highway To The Sun and 

the track Killers. 


 

STREETS OF RAIN 

 

“THESE GUYS 

ARE SO GOOD, 

IT’S UNREAL” 

“What’s interesting about that is it’s very much a band 

song. It’s quite a simple song in parts, but it’s all feel. 

They trust each other to play, and Kevin’s role is equally 

important—capturing the magic, guiding it in a different 

direction.” 

“The lyric Killers from the East they came without names 

was inspired by a piece in The New York Times about 

intercepted communication during the early days of the 

war in Kiev. It’s about how bad leaders dehumanise people, 

which happens throughout history.” 

THE RODRIGUEZ CONNECTION AND 

SEARCHING FOR SUGARMAN 

Searching For Sugarman is one of the best music documentaries 

ever made in my opinion, and Steve played his 

part in the story of Rodriguez. 

“It was great. My record company phoned me up and 

asked if I wanted to be Rodriguez’s backing band. At that 

point, he hadn’t played in over twenty years, and none of 

the band could believe it when I told them. The first show 

sold out with seven or eight thousand people crammed in. 

It was electrifying to be part of such a wonderful experience. 

The crazy thing was that it was really the movie 

that made him famous, even though the tour happened 

in 1997. The reason Rodriguez was so big in South Africa 

was that his records were played underground by people 

who were anti-apartheid.” 

 

 

KILLERS 

WIND IN YOUR HAIR 

A MEMORABLE ENCOUNTER WITH JOE BONAMASSA 

I found online a blog of yours—tell me about the first time 

Joe Bonamassa met you and played on your track. 

“Yes, Kevin had forgotten to record a solo for Royal Tea, 

so Joe detoured his bus to stop by in Nashville to record 

the missing solo. Kevin just said, ‘OK, play something on 


this,’ and he pushed the record button on my song Wind In 

Your Hair. Just one take. Joe plays on the new album, on Cruel 

Hand Of Fate.” 

PERSONAL TRAGEDY AND MUSICAL CATHARSIS 

Steve has also suffered tragedy in his life, with his brother 

Ardi losing his life at the time Steve was recording the breakthrough 

Waiting For The Dawn album in London. 

“That night, Kevin and I flew to London to record some parts 

of the album with Robbie McIntosh and other musicians. My 

brother was flying back to South Africa from Taiwan when the 

plane exploded. I remember it as if it were yesterday—Kevin 

walking with me, with his arm around me. The album was put 

on hold until I could focus again. It was definitely a crossroads 

in my life. I’ve found music very cathartic—it might have 

focused me a bit more.” 

REFLECTING ON A REMARKABLE JOURNEY 

Steve Louw’s journey from the heart of South Africa’s turbulent 

music scene to the global stage is a testament to his resilience, 

talent, and unwavering passion for music. With a career 

that spans decades and influences that have shaped both his 

homeland and the world, Steve continues to evolve as an artist. 

His recent work, marked by powerful collaborations and 

a deep connection to his roots, showcases a musician at the 

peak of his creative powers. As he looks to the future, Steve’s 

music remains a beacon of hope, reflection, and timeless storytelling, 

proving that his voice is as vital now as ever. 



BASS LINES 

AND MILESTONES 

JACK CASADY 

He’s the legendary presence felt beneath some of the most timeless psychedelic, 

rock, and blues music ever recorded, and Jack Casady continues to live 

a rare and storied life. His signature tone, feel, and rangy approach to playing 

bass have provided him with a still in-demand career. 

Paul Davies 

Supplied 

And with his fellow original Jefferson Airplane musician, 

guitarist extraordinaire Jorma Kaukonen, with whom he 

formed the Airplane offshoot band Hot Tuna, he has an 

abundance of tour dates booked performing Acoustic 

Tuna. Not bad for an 80-year-old veteran from the vanguard 

of the modern music business whose enthusiasm 

for his calling is as infectious as ever. 

THE STORY BEHIND THE SIGNATURE 

EPIPHONE BASS 

Jack sits before me on our Zoom call from his Channel 

Island home in Jersey, with his signature Epiphone bass 

thrumming in his hands, passionately keen to tell me 

its story: “I started out with Epiphone in 1997; the last 

century,” he emphasises. “I approached Gibson through a 

good friend of mine, Mike Lawson, who was working with 

Gibson at the time. I discovered the Les Paul version of 

this bass in 1983, and I hadn’t realised that there was a 

nice F-hole arch-top semi-hollow body already out there 

by Gibson.” 

He considers, “I had played the short-scale version of 

Guild in the late sixties, like the one I used at Woodstock 

and around that era, because I really liked the openness 

of the tone of the semi-hollow body.” Settling into his 

comfort zone, Jack continues with his thoughts on his 

creative obsession with the evolution of modern bass 

guitars: “I started out playing guitar at age twelve and 

moved to the bass at sixteen, with, of course, the Fender 

bass, and started out playing the jazz bass, and that’s 

what I used in the early part of my recording career. But 

when I discovered the hollow body instruments, I really 

liked that open sound. And I’ve kind of always chased the 

stand-up bass player jazz guy sounds,” he confides. 

A UNIQUE COLLABORATION 

WITH EPIPHONE 

“Mike Lawson was working with Gibson, and they weren’t 

interested in reviving this short-lived Les Paul version. 

They did a run of about a couple of hundred in the early 

seventies, and they didn’t hit it off very well. But I loved it 

when I rediscovered them, and I said I’d like to make it. I 

like this bass and the way it’s set up. The neck style feels 

so nice to me, as does the tone. But I said I want to work 

on the pickups, but Gibson wasn’t interested. Instead, 

they turned me on to the Epiphone division, and they 

were. Jim Rosenberg, the president of Epiphone at the 

time, gave me carte blanche. He said, ‘Jack, you can build 

this instrument any way you want. You can put three 

pickups on it, two pickups, one.’ I said, ‘what I really want 

is one super top-of-the-line component pickup, and I’ll 

place that in the sweet spot that I like.’” 

MEMORIES OF CRAFTING AND 

REDISCOVERING A STOLEN BASS 

Talking about the technical aspect of his Epiphone 

Signature Jack Casady bass also brings back a flood of 

personal memories for Jack as he reveals to me: “We 

tried different magnet combinations and different 

strengths of magnets and different gauges of wire and all 

that kind of stuff. I learned all that stuff from my father, 

who was an audiophile. He was a dentist, a professional 

man: doctors, dentists, and lawyers are all in my family, 

and this was in the fifties. He loved electronics when he 


graduated and went to school in the late twenties and 

early thirties, and we built amplifiers together: Heathkit 

amplifiers, which was my first amplifier, and he built 

speaker cabinets and all that stuff. So, it was natural for 

me to work with them.” 

He adds, “I remember all that gang out in San Francisco, 

Owsley Stanley, who did the first electronics on that 

Guild bass that I had at Woodstock that was stolen and 

then returned, luckily, recently. During that period of 

time, up until the late nineties, I was playing a lot of solid 

body instruments, but I discovered this Gibson version in 

the Chelsea Music Store right next to the Chelsea Hotel 

and West 23rd Street in New York City, a great little 

store, where all the cool cats went into and where you 

could still buy an instrument for a reasonable price.” 

THE RETURN OF THE FAMED 

STOLEN GUILD BASS 

I ask Jack how he got his famed stolen Guild bass back 

into his hands that are still picking out Epiphone bass 

runs as we speak: “It’s a great story. A few years ago, I put 

a little query out on Facebook. I said, ‘Gee, it’d really be 

great to have...’ And I showed a picture of this instrument 

that was stolen during a few shows that we did on a tour. 

And there are several characters involved here, but it was 

stolen after a show. I left it somewhere sitting down while 

making a phone call. Notice it was in the days when to 

make a phone call, you had to go to a phone booth,” he 

heartily laughs. 

“It got stolen in Seattle around ‘69. I got a phone call from 

a gentleman up in Seattle who thought he knew where 

the bass is. This gentleman was in a band with another 

bass player, and they got back to me, and we became 

great friends, and they returned the bass.” He continues, 

“And the bass had been changed a little bit, but, essentially, 

the only thing changed is I had a dark brown finish put 

over the original finish that was sunburst. Somebody 

stripped that off, and it went back to a natural finish. The 

electronic package had been done by Owsley Stanley, 

who was famous for other things as well as electronics, 

and we put that bass together in 1967. It’s back, and it 

plays wonderfully. I’m not playing a lot of short-scale 

instruments these days, but it sounds superb, and I got it 

back: wonderful.” 

ACOUSTIC HOT TUNA: 

THE CURRENT TOUR AND SETUP 

Back to present-day happenings, Jack and Jorma are out 

on tour with a rolling diary of Acoustic Hot Tuna dates: 

“We’ve never not been acoustic. Here’s the difference. 

Jorma doesn’t play acoustic guitar as a musician who’s 

always played electric and now plays unplugged. He’s a 

master of the acoustic instrument as it was meant to be. 

He’s a finger picker: thumb and two fingers. When we 

started what became Hot Tuna from playing that Guild 

bass, with a little amplifier I had and, later on, a Versatone 

amplifier that was basically a Hi-Fi amplifier, I was trying 

to get a nice, natural jazz sound on that bass that worked 

well with a flat top acoustic J-50 Gibson, and that’s how 

we started out playing, and our first album was those two 

instruments together.” 

Jack further details the creative nuances of Hot Tuna’s 

music: “What was unique at the time for us was me 

playing bass with a finger-picking guitarist and singer— 

that’s complete music within itself. And we started 

working out how we would play that kind of music that 

was heavily influenced by a lot of the guitarists and 

singers that we admired at the time like Reverend Gary 

Davis and several others. As Jorma developed his own 

songwriting, we worked out a method because Jorma’s 

playing with his thumbs, it would also free me up on the 

bass, where I wouldn’t have to be just pinning the rhythm 

section down with repetitive line licks in the bottom with 

a single line on top like a difficult linear guitar player 

would play. Then it formed, and we began what became 

known as Hot Tuna and in that combination, we put out 

our first album in 1970.” 

A TRIBUTE TO HIS LATE WIFE AND THE 

FUTURE OF HOT TUNA 


As I mentioned, Jack is naturally a bass obsessive, as he 

details his current acoustic setup: “Over the years, I’ve 

had a couple of different approaches. Lately, luthier Tom 

Ribbecke has made a series of true acoustic bass guitars 

with a big body and a unique design. It’s called the Diana 

Bass Series, after my late wife Diana who passed away in 

2012. It has a deep body on it, but it’s an arch-top design. 

What we’re doing now, since we stopped doing the louder 

version of Hot Tuna, is playing the acoustic flat top rather 

than going into the electric world.” He adds with a huge 

smile: “We’re just dropping the electric because we 

figured, well, I’m just turned eighty and Jorma is eightythree 

going on eighty-four, and, maybe, we’ve got a shot 

at another ten years if we don’t completely lose our 

hearing, ha ha.” 

THE BEGINNINGS OF HOT TUNA 

Jack recalls the exact moment when the embryonic Hot 

Tuna started: “We were fortunate because I think there 

were a couple of concerts in New York where there was 

some sort of technical problem, and Paul Kantner said, 

‘Hey, why don’t you guys go out and play a couple of 

things while we get this all fixed up’? So, we did. Luckily, 

we had that format to slide into with an audience where 

we could present some of this material that we loved.” 

He says: “But in Jefferson Airplane, everybody wrote. 

Everybody. There were a lot of different styles between 

Grace Slick and her approach, Paul Kantner’s, Marty Balin 

and Jorma, who later started doing more writing, but 

there was a lot of territory to cover in only so much time 

within the structure of any one concert. So, this was sort 

of an intimate, almost like a small combo jazz approach to 

the kind of music that we enjoyed, and as the months and 

years built up, we started to expand that and see where it 

would lead to as a kind of a new direction, while we were 

doing the Jefferson Airplane at the same time. So, it’s 

very natural. This came out of sitting in hotel rooms night 

after night and playing.” 

RECORDING WITH JIMI HENDRIX 

This was a fertile and groundbreaking period in music, 

which also found Jack playing on a famous recording 

session with Jimi Hendrix at Electric Ladyland Studios as 

he reveals the backstory to this milestone meeting: “Bill 

Graham was our manager, and with Bill and all the 

musicians of the San Francisco scene, we would talk 

about who our influences were, and the kind of people we 

admired. Bill Graham was unique in that he loved to put a 

combination of musicians and influences from different 

worlds and backgrounds on the same stage at the same 

time during a show, and he put on wonderful shows. 

In any case, Jimi Hendrix came through, and he jumped 

over to England and got his start with his band, and he 

came back to the United States and played these places. 

We became friends through meeting at The Fillmore,” he 

smilingly recalls. “We practised next door to each other 

all the time. Mitch Mitchell was a good friend of mine. I 

loved his drumming. I loved the way he approached the 

drums in the Jimi Hendrix Experience. I think that’s what 

made them unique. I don’t think it was ever like that again 

once he was gone,” Jack asserts. 

A JAM SESSION TO REMEMBER 

“To jump ahead to your question. We (Jefferson Airplane) 

were in New York. I think we’d done the Dick Cavett 

Show, something like that, and Jimi was working on what 

became his double album, and he had taken a break and 

gone down to see Steve Winwood who was in Traffic. We 

had also gone over to Steve Paul’s Scene club to see 

Traffic play because we had just heard their debut record 

release, and it was their first stateside tour. We all met 

over there, listened to their set, and Jimi invited a whole 

bunch of us back to his studio, along with about twenty 

other people, and at about 06:30 in the morning, after 

listening to him do some overdubs and whatnot during 

the night, he said, ‘let’s play some blues’. So, we did, and it 

was great.” 

Jack tells me more: “Jimi and I and others had played 

together before and jammed at rehearsal, so we weren’t 

strangers to each other. I found him to be a nice fellow, 

straightforward and wonderful to play with. He just 

looked you straight in the eye, and you got down to 

business and played. So, we did Voodoo Chile (Slight 

Return) with Steve Winwood playing the Hammond B3, 

Mitch Mitchell, myself, and Jimi. Then at about 07:30, we 

had to pile into the LTD Station Wagon and drive down to 

Washington, DC to do a gig that night. And that’s what 

you can do when you’re twenty-something years old!” 

A FINAL WORD ON GRACE SLICK 

I can’t allow my conversation to finish with this lucid, 

endearing, highly engaging, and generously affable 

legend without asking about the only other surviving 

member of Jefferson Airplane and one of the first 

front-ladies of rock, the remarkable Grace Slick: “I talk to 

her all the time. See, I live in Los Angeles as well as here in 

St. Martin, Jersey, Channel Islands, and she lives out in 

Malibu. It’s just Grace, Jorma, and Jack left out of the 

original band, and she’s just as sharp, witty, and acerbic as 

ever. She’s a wonderful painter and artist. She’s a good 

person, and I love her. One of these days, you’ll have to do 

an interview with her.” I’ll say Grace with a huge helping 

of Hot Tuna to that. 


 

 

 

STAR TRACK - LIVE 

COME BACK BABY - LIVE 

ROCK ME BABY - LIVE 

 


the 

Porretta 

Soul 

Festival 

Laura Carbone 

“I Heard It Through The Grapevine” that there is a 

picturesque town in northern Italy where the streets 

are soaked in Soul, “Hold On, Get Ready” to take 

the “Midnight Train” to Porretta Terme, Italy. This is 

where every July, has become the heartbeat for soul 

music enthusiasts from around the world. Since its 

inception in 1988, the festival has grown into the 

most anticipated European event dedicated to Soul 

and Rhythm & Blues music. 

The festival, a brainchild of the “Soul Man” Graziano 

Uliani, a soul music aficionado, was conceived as a 

tribute to the legendary Otis Redding. This idea took 

root in 1987 after Graziano met with the Redding 

Family in Macon, Georgia, where he pledged to hold 

a festival in honor of “Big O’. Since then, the greatest 

names and bands in Soul, both legendary and emerging, 

have graced these streets, including Solomon 

Burke, Rufus & Carla Thomas, Wilson Pickett. Booker 

T. Jones, Mavis Staples, Isaac Hayes, Percy Sledge, 

Irma Thomas, Ann Peebles, Otis Clay, The Neville 

Brothers, Chaka Khan, Swamp Dogg, Howard Tate, 

Bobby Rush, the Memphis Horns, Eddie Hinton, Dan 

Penn and James Carr. 

Porretta is not just a beautiful Italian town with small 

shops, thermal spas, and outdoor cafes its “Living For 

The City” where the spirit of soul music is palpable 

in every corner. Entire families make it a point to 

visit this festival, where people are “Dancing In The 

Streets,” and the walls are adorned with over a dozen 

large murals dedicated to soul music. Imagine having 

lunch in a quaint Italian Trattoria under a 60-foot 

mural of Bobby Rush and Vasti Jackson looking down 

at you. In Porretta, you’ll find Rufus Thomas Park (the 




main event venue), Solomon Burke Bridge, an alley 

dedicated to Sam Cooke, and another to the Queens 

of Soul, and even Otis Redding Avenue. The Blues 

Mobile with a large speaker on the roof rolls into 

town. One street is dedicated just to food, offering 

the Italian version of soul food with grilled octopus, 

crispy calamari, perfect pasta, grilled sausages, 

seafood paella, whole pie pizzas, frozen gelatos, and, 

of course, a quick espresso. Main Street transforms 

into a pop-up shoppers’ paradise with vendors selling 

Italian silver, fashion-forward sunglasses, soft leather 

goods, and the best collection of rare and never-tobe-found-in-the-US 

soul vinyl LPs. There is a Soul 

Museum that highlights past performances and displays 

the prestigious Keeping The Blues Alive Award 

that was given to this festival by the Blues Foundation 

in 2017. 

This year, the main act was the Memphis Hall of Fame 

Band led by Kirk KC Clayton, which featured a group 

of Memphis all-star musicians backing up the special 

guests. These Memphis luminaries included Jerome 

Chism, Jonathon Ellison, and Gerald Richardson. Billy 

Vera is a legend, and his song, “At This Moment,” put 

tears in all of our eyes. He was awarded the festival’s 

Sweet Soul Music Award 2024. Female Soul 

priestess Wendy Moten was the face and Voice of 

the festival. Johnny Rawls got everyone doing the 

funky soul dance, while Alabama Mike bought down 

the house with his soul side. Chris Cain, one of the 

truly great guitarists of this generation, featured 

cuts from his new album “Good Intention Gone Bad”. 

Mitch Woods is a crowd favorite, with his third time 

back to this festival. Making this a genuinely international 

festival, it included the Sweethearts, a 30-plus 

band of Australian school girls and future stars that 

grooved a tight set that would make Stax proud. 

From Ireland, Anthony Strong, with his swaggering 

vocals and high energy, is reminiscent of the cult film 

The Commitments. During the day, regional bands 

took to the street stages, marched up and down the 

streets and a gospel choir lit up the churchyard on 

Sunday morning. 

“People Get Ready” The Porretta Soul Festival is 

more than just a music event; it’s a place that reveres 

this music and brings soul to Europe, and Europe just 

gets it. So, “Get Offa That Thang”, “Move On Up”, and 

plan to get Soul Soaked at the 2025 Porretta Soul 

Festival. 



BENEATH 

THE NEON GLOW 

ELLES BAILEY 


Morten Fog & Rob Blackham 

The music industry is an ever-evolving beast, 

with artists constantly striving to create something 

that resonates with their audience while 

staying true to their own artistic vision. Elles Bailey, 

a name synonymous with raw emotion and 

powerful vocals, has recently released her latest 

album, “Beneath the Neon Glow”, to widespread 

acclaim. The album has garnered praise from 

critics and fans alike, further solidifying her place 

in the modern blues and roots music scene. 

In a recent conversation, Elles Bailey shared 

insights into the creation of her new album, her 

thoughts on the music industry, and the challenges 

she faced during the recording process. 

As we delved into the details, it became clear 

that “Beneath the Neon Glow” is not just another 

album; it is a deeply personal project that reflects 

her growth as an artist. 

THE JOURNEY TO THE ALBUM TITLE 

One of the first topics we discussed was the 

album’s title, “Beneath the Neon Glow”. Bailey 

revealed that this was the first album she had 

created without having a title in mind from the 

outset, which added an element of stress to 

the process. “When I wrote “Shining in the Half 

Light”, I knew immediately that it was the title 

for album three. The same happened with “Road 

I Call Home” for album two,” she explained. But 

with this new project, things were different. She 

grappled with various potential titles, none of 

which seemed to fit perfectly. 

The title finally came from a line in the opening 

track, “Ballad of Broken Dreams.” “The Bud Light 

neon glows” caught her attention, inspiring 

the eventual album title. Bailey was captivated 

by the idea of the neon glow, which she feels 

symbolizes the duality of an artist’s life—always 

surrounded by lights and colours, yet often concealing 

parts of themselves from the world and 

even from themselves. “That’s what “Beneath the 

Neon Glow” is about—the stuff we keep hidden, 

even if we’re hiding it from ourselves,” she 

reflected. 

THE RECORDING PROCESS: 

A BALANCING ACT 

Bailey began writing songs for the album in 

October 2023, a process she described as both 

intense and rewarding. She typically writes 

around 30 to 40 songs for each album, allowing 

her to carefully select the ones that best convey 

the album’s message. Pre-production started later 

that month, and recording began in November, 

wrapping up in mid-December. 

Interestingly, the mixing process took longer 

than the actual recording. Bailey found this 

phase particularly challenging because, unlike 

the focused environment of the recording sessions, 

mixing was done amidst the distractions of 

everyday life. “I did a lot of mixing via Audio Movers, 

which meant I didn’t have to be in the room 

with my producer. But it was tough, balancing the 

demands of being an artist and a parent,” she admitted. 

By the end of the mixing process, she was 

relieved to put the album to bed, although she 

occasionally second-guessed some decisions— 

small details that no one else would notice, but 

that she would mull over. 

Despite these challenges, Bailey is proud of the 

final product. “I love how the album sounds,” she 

said, expressing satisfaction with the outcome. 


A GLASTONBURY HIGHLIGHT 

Bailey’s career reached a significant milestone when she 

performed at Glastonbury for the first time. “It looks 

“You can keep going forever, tweaking things, but at some 

point, you have to say, ‘We’re done.’” 

CONSISTENCY IN COLLABORATION 

For “Beneath the Neon Glow”, Bailey worked with the 

same team she had used for her previous album, “Shining 

in the Half Light”. This included producer Dan Weller and 

the same band, engineers, and even the assistant engineer. 

However, despite the consistency in personnel, Bailey 

was determined not to simply recreate her previous 

work. “I didn’t want to make “Shining in the Half Light” 

again. I wanted to show what we could do differently, and 

I think we’ve done a great job with that,” she remarked. 

One of the ways she achieved this was by expanding the 

musical palette. For instance, Johnny, who has played 

with her for eight years, was tasked with playing organ 

and Wurlitzer instead of just the instruments he usually 

played on stage. This allowed the album to explore new 

sonic territories. When the band goes on tour, they will 

incorporate these new elements into their live performances, 

bringing a fresh energy to their shows. 

great on a tour poster, but you never know if people are 

going to show up,” she confessed. Fortunately, the crowd 

did show up, and her performance on the Avalon Stage 

was met with enthusiasm. “It was a lunchtime slot on a 

Saturday, and I expected people to be tired and hungover, 

but they were so lively singing along, shouting back. It 

was brilliant.” 

Reflecting on the experience, Bailey expressed her 

surprise at the energy and engagement of the audience, 

which made her first Glastonbury appearance truly 

memorable. “It was the first time I’d ever been to Glastonbury, 

and it was everything I hoped it would be,” she 

said, clearly thrilled to have checked another item off her 

bucket list. 

BUCKET LIST ACHIEVEMENTS 

Speaking of bucket lists, 2024 has been a year of significant 

accomplishments for Bailey. In addition to Glastonbury, 

she has performed at other bucket list venues and 

festivals, including Cropredy and the Tønder Festival. 

These achievements have prompted her to start thinking 

about what comes next. “I’ve achieved so many things I 

aspired to this year. I’m now going to have to think, ‘Alright, 

cool, what’s next?’” she mused. 

When asked where she would like to perform if she could 

choose any venue in the world, Bailey mentioned Red 

Rocks Amphitheatre in Colorado as a dream location. “It’s 

an incredible venue, and I’d love to play there,” she said. 

She also expressed a desire to perform at the Byron Bay 

Bluesfest in Australia, further indicating her readiness to 

expand her horizons and take her music to new audiences 

around the globe. 

AWARDS AND RECOGNITION 

Elles Bailey’s hard work has not gone unnoticed. Over 


the past few years, she has won ten awards, a testament 

to her dedication and talent. When asked how she feels 

about these accolades, Bailey responded with humility. 

“It’s really nice to be recognized by your peers and the 

people around you. I’ve worked really, really hard, and it 

feels good to see that acknowledged,” she said. 

However, she also emphasized the joy she feels when her 

friends in the industry receive recognition. “I love watching 

my friends win awards. It’s just as special as winning 

LOOKING AHEAD 

As she looks to the future, Bailey is determined to keep 

pushing forward, both in her career and in expanding the 

reach of her music. “I want the scene to continually grow, 

and it can’t just grow here in the UK. We have to spread 

our wings,” she said. Despite the difficulties posed by the 

current economic climate, she is hopeful that artists like 

herself can find a way to continue thriving and bringing 

their music to audiences around the world. 


Bailey’s musical journey was influenced by her father’s 

eclectic record collection, which included a mix of blues, 

rock and roll, and more. However, it was a chance encounter 

with Etta James’ “Something’s Got a Hold on 

Me” while writing her dissertation that truly ignited her 

passion for music. “It just floored me,” she recalled. “That 

song reminded me of all the music I had grown up with 

and set me on the path to becoming a musician.” 

CAPTURING THE ESSENCE OF NOW 

With “Beneath the Neon Glow”, Elles Bailey sought to 

create an album that pays tribute to the musical influences 

of her past while remaining firmly rooted in the 

present. “I wanted to make an album that felt like it could 

be released in 2024,” she explained. The result is a body 

of work that not only reflects her journey as an artist 

but also speaks to the experiences and emotions of her 

listeners. 

them myself,” she noted. One particularly memorable 

moment was when she presented Alice Armstrong with 

an award, an experience that was just as rewarding for 

Bailey as receiving an award herself. 

THE IMPACT OF THE PANDEMIC 

Like many artists, Bailey’s career trajectory was significantly 

affected by the COVID-19 pandemic. When 

asked if she is where she thought she would be when 

she released her first album in 2017, she admitted that 

the pandemic had thrown a wrench into her plans. “The 

pandemic threw in such big hurdles,” she said, noting that 

it often feels like she had to start over, particularly in 

Europe. 

The rising costs of touring post-pandemic have added 

another layer of difficulty, with expenses soaring while 

fees have remained stagnant. “Touring costs have gone 

up so much more than I could ever have imagined, and 

suddenly you’re trying to take that into Europe again,” 

she explained. Despite these challenges, Bailey remains 

grateful for the support she has received and the opportunities 

she has had to continue growing as an artist. 

As Bailey prepares for her upcoming UK tour, she is excited 

to bring these new songs to life on stage and connect 

with her fans in a live setting. “I’m really proud of what 

we’ve created with this album, and I can’t wait to share it 

with everyone,” she said. 

For Elles Bailey, “Beneath the Neon Glow” is more than 

just an album—it’s a testament to her resilience, creativity, 

and unwavering commitment to her craft. As she 

continues to evolve as an artist, there’s no doubt that she 

will keep pushing boundaries and reaching new heights in 

the years to come. 


 

 

ENJOY THE RIDE 

LET IT BURN 

 



A LIFETIME OF 

BLUES AND 

BROTHERHOOD 

11 GUYS 

QUARTET 

Andy Hughes 

Supplied 

The 11 Guys Quartet don’t actually need to make 

music, although they do—and it’s wonderful. They 

could just turn up at a gig and talk about their 

experiences as blues musicians and the long list 

of legends they have backed and played with. But 

they do still make music, and since the pandemic 

and the relocation of drummer Chuck Purro to 

Florida, their music production has been via the 

wonders of technology. Richard (Rosie) Rosenblatt 

explains: 

THE BAND’S EVOLUTION AND 

REMOTE COLLABORATION 

“We have been playing together for a long time, 

since the 1970s. We were originally a band called 

The 11th Hour Band, and we regrouped about 

fifteen years ago to record some instrumentals 

with a view to releasing them as a record, and we 

renamed the band The 11 Guys Quartet. Then 

came the pandemic, and Chuck moved to Florida. 

Now, all of our music has been produced remotely. 

Paul (Lenart, guitarist) is the technical mastermind 

who puts it all together for us. We create our 

parts, and that’s why there are no videos of us actually 

playing music together. There are videos of 

us ‘together’, put together by our video wizard Bill 

(Mather, bassist). So, Chuck plays the drums down 

in Florida, and I play the harmonica in Boston, and 

it all gets put together into individual videos with 

a green screen, and Bill puts them all together— 

and that’s what we do.” 

Bill continues, “We found that when the pandemic 

hit, and no one could work or play together, musicians 

were starting to make videos and put them 

out on social media. So, we thought that would 

be a good idea. I bumped into a friend who works 


in advertising, and he showed me how to use an app that 

can make videos, and I started to do that, mainly just for 

amusement. And it opened up a whole new audience for 

us. We now have a global reach, which is amazing. The 

great thing about YouTube is that you can hear all the 

original material played and sung by original musicians, 

and that’s wonderful for younger people now.” 

THE REALITY OF TOURING IN LATER YEARS 

So, is there any chance of the band actually getting out 

on the road and playing some shows? Chuck shakes his 

head sadly, “We’re too old to carry the equipment around 

anymore! But we have all got a lot of history, and we have 

played with a lot of great musicians over the years.” 

Paul reflects on the band’s history: “I used to play in the 

American Folk/Blues Festival back in the 70s, and all the 

older musicians used to come out for that. Willie Dixon, 

Howlin’ Wolf, Muddy Waters, Big Mama Thornton— all 

the original players would come out. I went on tour with 

these players, and you learned a lot about people doing 

that. They were from the deep South, and I was one of the 

only white people on the tour, and they treated me exactly 

like I was one of them, which of course, I was—one of 

their own. This would be 1970, and that’s fifty-four years 

ago, and they have all passed now. I worked with them 

in Europe, so they got better treatment there than they 

did back in the United States. One of the artists out there 

was Memphis Slim, and he lived in Paris. 

“He told me that he realised he couldn’t make money in 

“WE HAVE ALL GOT A LOT 

OF HISTORY, AND WE 

HAVE PLAYED WITH A LOT 

OF GREAT MUSICIANS” 

the States, so he moved to Paris and they treated him like 

a king. He bought a house just outside Paris, married a 

French lady, and he said they treated him really well. He 

would gig, just himself and a drummer, and he did that for 

decades. They made some videos on those European gigs 

as well—if you see the clip of Big Mama singing Hound 

Dog, and the guitarist is wiggling his shoulders and has a 

quiff, that’s Buddy Guy. Chuck played with Van Morrison 

for a while, and I think we have all played with Hubert 

Sumlin at one time or another.” 

EMBRACING TECHNOLOGY 

AND MAINTAINING BONDS 

So, the music rolls on, thanks to the miracle of technology, 

and more importantly, to gentleman musicians of, shall 


we say, an earlier vintage, embracing it and using it to get 

their music out to a potential audience which stretches 

around the world. They may not have been able to play 

together physically, but the bonds that drew them together 

all those years ago still hold strong today. Bill Mathers 

considers the links that keep them connected: “We 

probably last worked together in about 1973 or 1974, 

and we had personnel changes a few times. Then Rosie 

had a blues club night, and he invited us down to play 

with him there and jam on Sunday nights. We became the 

house band, and here we are, some fifty years later, still 

together.” 

Paul adds, “When we look back together, we realise that 

we have become like a family—we are really close, and 

that’s not always easy to do for musicians in bands. We 

get along, and we tolerate each other—that’s the key. You 

learn to accept each other and roll with the personalities 

together.” 

Rosie remembers, “We were working together in my 

basement making albums, and I formed a record company 

to be able to release them, and that went on for about 

twenty years. Our biggest artist was Susan Tedeschi, and 

the company probably put out about fifty albums.” 

LABOURS OF LOVE AND THE 

JOY OF MAKING MUSIC 

There is no doubt that the band’s current efforts are 

labours of love, which is just as well, because it’s not producing 

them any real money! But as Paul confirms, money 

was never the reason for any of this—not then, and not 

now. “It actually costs us money to do this, but we’re 

musicians, it’s what we do, so we are happy doing it. The 

pandemic has opened up a massive audience for us that 

we never had, worldwide. We’re big in Croatia now!” 

For readers new to the band, they have two albums out, 

and they are keen to talk about both of them. Rosie takes 

up the story: “The first record, Small Grooves And Blues, 

we made in a studio together, playing live—no overdubs, 

just down-the-line playing like we always do. It got lots 

of wonderful reviews. The second, 11 X 11, was made 

remotely, as we have outlined, and it has far more production 

and studio depth to it than the first one, thanks 

to the amazing production that Paul has done with it. It’s 

our video singles, which are all out there on YouTube, and 

some new songs as well. That’s got a wonderful reception 

as well, even though it was made in such a different way.” 


 

 

 

LONESOME HOTEL BLUES 

LIGHTNING ROAD 

STOMPIN’ BLUES 

that’s a trick missed by the music business. Our generation 

still listens, but they are not catered to. They should 

be—our generation has disposable income now, houses 

paid for, kids left home. We just need the crack to wiggle 

through and find an audience we can work with. 

“If someone who chooses music for TV and films saw one 

of our videos, they may think we would be a fit for a film 

or a TV episode—that would be really cool. Our audience 

is growing and building. We have lines in the water, we 

just need a bite on one of them. Here’s hoping. We are 

not stopping, we do what we do, and it’s too late to stop 

now!” 

A LEGACY THAT ENDURES 

 

The 11 Guys Quartet is a testament to the power of 

music, technology, and enduring friendships. Despite 

the challenges of age, distance, and a changing music 

industry, they continue to create, innovate, and connect 

with audiences around the world. Their journey isn’t just 

about the music—it’s about the love of the craft, the joy 

of collaboration, and the timeless bond that keeps them 

playing, even fifty years on. 

LOOKING FOR THAT ELUSIVE BREAK 

Paul, meanwhile, is looking for that elusive break into the 

major leagues, which may come through film or television. 

“We are still doing the same music, and have the 

same audience—older people. The media wants to push 

stuff to younger people. There are a lot of people our age 

who would like our music if they were exposed to it, and 


HARD AT IT 

MIKE ZITO 

“ it’s a beautiful 

feeling - to get to sing 

about her and for her.”

Mike Zito is one of those names known to blues lovers globally. A guy 

with a history and ability equalled by only a select few, Zito has mastered 

guitar while battling with adversity, including personal tragedy, 

to deliver what must surely be his finest release to date. 

Iain Patience 

Supplied 

‘Life is Hard” is an album that features all of his wonderful 

fret pyrotechnics together with some deeply significant 

personal lyrics, memories and thoughts; in short an album 

that must cement his position as a major bluesman and 

international musical force. When I suggest this is his 

best work so far, Mike smiles, nods and agrees: 

“Thanks. Yea, I think it’s my best ever. In some ways it 

was cathartic to work on it and I had the support of two 

fabulous guitarists, Joe Bonamassa and Josh Smith - they 

produced the album following the success with my Blood 

Brothers album with Albert Castiglia - who added their 

own magic to it all,” he confirms, adding, ““Life Is Hard’ is 

a complete work of art for me. I believe this is the best 

album I’ve ever made in my life. My wife Laura and I 

planned this idea of pouring my heart out in music after 

her death from cancer. Joe, Josh and the incredible musicians 

were fully aware of the task at hand. They brought 

a lot of emotion to the music. I am so proud of this album 

and I know Laura would be proud as well.” When you add 

keys wizard Reese Wynans to the mix, you know you’re 

looking at something genuinely out of the ordinary. 

Never an easy guy to pin down, I ask how he finds the 

energy to keep rolling: 

“I’m out on the road and so busy with the album, touring 

and with the label, Gulf Coast Records. And I’ve got five 

kids! So always busy, I guess!” 

With a fabulous and significant UK tour in the offing 

and a special London gig at no less a venue than Sound, 

The Cumberland Hotel, in mid-October, (together with 

a bunch of dates across much of the country) Zito says 

he’s excited at the prospect. As a huge Hendrix fan, he is 

delighted to know that Jimi played the same venue many 

years ago, and sees it as part of a journey!: 

“Jimi had something that very few ever get near, so he’s a 

huge influence on my playing!” 

“I started in bars or for money when I was 18, that’s been 

thirty-five years. I mean it was 1997when I had my first 

album out on my own. So that’s about thirty years of 

trying to do my own thing, put my music out and travel 

and tour. I’ve been sober now twenty years and in those 

twenty years I’ve easily done the most work,” he explains. 

When I suggest the sobriety maybe made him a more 

creative force, he instantly agrees: 

“Oh, sure. Absolutely. I’m more likely to turn up for gigs 

on time,’ he says with a laugh. “I’m more reliable and 

dependable too. And I think I’m more consistent. Tomas 

Ruf, owner of Ruf Records, years ago we were on a tour, 

had been going non-stop. Everybody was late to the 

lobby and I was on time but very tired and worn-out; he 

said - ‘Well, Mike Zito, you have to watch out, sometimes 

your dreams will come true!’ – I was not awake enough at 

the time but now I get it and it makes a lot of sense! You 

dream of being a musician, a professional musician, and 

you don’t really know what that means.” 

I remind Mike that he once wrote a regular column for 

Blues Matters, a much admired guitar player feature 

where he explained his approach and work in detail. “I did 

briefly write a column for you guys! That’s right. I’d love 

to do it again. I used to write a lot more.” 

I ask what took him into running his own record label 

with Gulf Coast, an additional job that has quickly taken 

him off in another successful musical journey: 

“I have a partner, Guy Hale, who lives just south of Birmingham. 

We became friends when I was in the Royal 

Southern Brotherhood. We just kind of hit it off. He had 

an interest in the music, would come and see me play and 

he was always very supportive so we became real good 

friends. Guy always fancied himself as a writer, so we 

were writing songs then slowly but surely he said he was 

‘getting retired.’ But wanted to get involved in music so 

asked about we could do. This was 2018 and initially it 

just was like maybe we could do a little record label that 

puts out a couple of records each year and we just help 

struggling artists, to help with that very low, just-getstarted 

stuff. And he agreed and said that sounded great, 

so let’s do it! And we did it. A few months later Ruf Records, 

we made a record for Albert Castiglia for Ruf. Then 

when Ruf Records did not like the record, they didn’t like 

the way it sounded or the way it was produced! They 

wanted Albert to rerecord it and he said, ‘No!’ He came 



of it all I just said to her one day, ‘I guess I’ll have to make 

a record, write some songs and just do something!’ She 

said, ‘Yea, you do! You’re always complaining you don’t 

have anything to write about. Well now you have, you just 

have to do this. That was very cathartic! The idea meant 

I had something immediately to wrap my head around, to 

be creative. I wrote the song ‘Forever My Love’ and I have 

it with me every day. “ 

to me and asked if we could put it out on our label so we 

bought it from Ruf Records and so suddenly we were in it, 

we thought we really have to try to be a record label now, 

cause this is a pretty big artist! It was a big kick in the 

pants for us! We just rolled with it. And the label has been 

really successful and I’m super-proud of it and what we’re 

doing with it!” 

Not the easiest of topics to broach, the passing of Zito’s 

life-partner and wife, Laura, had a huge impact on the 

guy on many levels. And while many might have shunned 

discussion, he instead harnessed his love and emotions to 

fulfil a promise he made to her as she neared the end of 

the road. 

Turning to the new album, I suggest it is a tribute to his 

late wife in many ways: 

“Absolutely. The idea came about because of her and with 

her. The worst part is obviously that she’s gone. The really 

hardest part was just having to watch her go over a year. 

Just watching somebody that was really vibrant, really 

strong, just deteriorate in front of you. I think for me, 

that was the hardest part, and somewhere in the middle 


 

 

LONELY MAN 

LIFE IS HARD 

 

“There were times when I felt not too concerned about 

making the record but at the back of my head I knew I 

had this opportunity. So, in September last year when 

she passed, we just went ahead and did it. It was the best 

thing I could have done for myself; emotionally it was 

difficult – I mean, who gets to do that kind of thing?! It 

“sometimes 

your dreams 

will come 

true!” 

was such an outlet to get all my feelings in it, let them go. 

People listen to it and they cry, or they come see us play 

it and they cry! And they come and say to me, ‘I’m crying. 

Well, you’re not crying.’ I tell them that I cried for all that 

time looking after Laura, so it’s your time to cry maybe! 

I made the record, I recorded it, I lived through it. I get 

to sing it every night and it’s a beautiful feeling. To get to 

sing about her and for her. It’s probably the best album 

and best song I’ve ever written.” 

As we close things down, Mike adds this rider, reflecting 

on the entire recording process: 

“Joe Bonamassa and Josh Smith are not only friends and 

great musicians but they were just so considerate and 

sensitive to what we were doing. They knew what a big 

deal it was and it was very serious.” 

 

FOREVER MY LOVE 



MIKE ZITO’S HEADING 

EXCLUSIVELY TO SOUND, 

LONDON, FOR ONE 

NIGHT ONLY! 

THE NO.1 BILLBOARD’S BLUES GUITARIST IS TOURING HIS NEW CHART- 

TOPPING ALBUM “LIFE IS HARD”, PRODUCED BY JOE 

BONAMASSA, ONE OF THE MOST INFLUENTIAL 

GUITARISTS IN TODAY’S SCENE. 

HE’LL BE PLAYING IN SOUND ON 19TH OCTOBER 2024, 

AS HIS ONE AND ONLY LONDON SHOW. 

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BIG BLUES 

REVIEWS 

 

ALASTAIR 

GREENE 

STANDING 

OUT LOUD 

Ruf Records 

Alastair Greene has firmly cemented 

himself at the heart of the ever-growing 

Blues/Rock scene. This has in no 

small way catapulted him to a new and 

far wider audience. I’ve been a fan of 

Greene for a few years now and had 

the pleasure of interviewing him for 

Blues Matters. Standing Out Loud is a 

damn fine album, showcasing the vocal 

and instrumental side of Greene, as 

well as the songwriting side. You Can’t 

Hold Me kicks off the album with 

aplomb. The gravelly vocals combined 

with the power chords on the guitar 

let you know straight away what this 

album is all about. The album 

continues in much the same vane 

with In Trouble, Am I To Blame, 

and the title track, before it takes a 

well-earned breather for the last 

three songs. The album was recorded 

in two sessions, the first in 

Nashville, and the second 

in Austin. Both sessions 

were recorded as a trio, 

you could be forgiven 

for calling them a 

power trio such is 

the intensity of 

the recordings. 

The final three songs, 

Temptation, Rusty Dagger, 

and Bullfrog Bluews 

bring out the Blues side 

of Greene so well. Rusty 

Dagger, in particular, is 

without doubt the most 

Blues orientated song on 

the album, Greene surpasses 

himself on vocals and playing, 

enabling him to remind us all that 

when done and said all, he’s a Blues 

artist at heart. The final tune on the 

album was not written by Alastair 

Greene, but it is, and was a Blues classic, 

Bullfrog Blues. I’ve always loved 

Rory Gallagher and his rendition of 

this is so good, I’m sure that he will be 

looking down and smiling in admiration 

for the way Greene goes about 

this. A fitting end to what is a brilliant 

album. 

STEPHEN 

HARRISON 

REVIEWS SEPTEMBER 2024 REVIEWS SE 

AL HUGHES 

MADHOUSE 

PROMENADE 

Vaudioville 

It is not an easy task reviewing a new 

release by someone you know personally. 

If it is good then might I stand the risk 

of not being objective enough. What if it 

is not good? There is the chance that the 

words selected might prove hurtful to 

the artist and make a long friendship difficult. 

This is the predicament facing me 

with this new album from Al. Ten tracks 

in all, six originals and four covers. To say 

that this album is basic is a bit of an understatement. 

This is a Blues album that 

could have been created in the early decades 

of the 20th century. Stripped way 

down to vocals plus guitar this is music 

of the deep south of anywhere, let alone 

Fife, and in fact it is also even beautifully 

rendered in glorious Mono. Presented in 

a simple card slip sleeve, Al’s gruff vocals 

are redolent of all that past history. As 

he sings, he imbues the songs with such 

feeling and truth that you forget this 

is 2024. His cover of Stephen Foster’s 

Hard Times is a perfect example. We all 

know examples of it applying to periods 

of despair whether in The Depression or 

the loss of work in the mines, steel or car 

production and yet it sounds fresh here. 

World’s In A Tangle could be applied to 

any conflict and his own All We Can Do Is 

Keep On sums up feelings of frustration 

and impotence. The album title track 

speaks to the passing fads of pleasures of 

the coming weekend perhaps including 

time wasted gambling whilst Chasing 

The Money. In ways our Blues haven’t 

moved on reflecting life, and lives, in 

trouble and that is a sad. A fine album Al 

well done! 

CATFISH 

LONDON CFO9 

Independent 

GRAEME SCOTT 

This mini-album has been released to 

coincide with the tenth anniversary of 

the band being formed. It is a mixture 

of new and old songs highlighting the 

sheer brilliance that this band 

has in spades. London, written 

and sung by Paul Long has an 

almost haunting way about 

86 

BLUES

PTEMBER 2024 REVIEWS SEPTEMBER 2024 REVIEWS SEPTEMBER 2024 REVIEWS SEPTEMBER 2024 REVIEWS SEPTEMBER 2024 

it, not in a horror type of way, more like 

a philosophical type of way. His vocals 

are fantastic during the whole of this, 

the opening song which also allows Matt 

Long to demonstrate the guitar genius 

he has become. There are many great 

guitarists in the world of the Blues and 

Blues/Rock, but Matt Long can stand 

shoulder-to-shoulder with anyone. Chocolate 

Jesus, written by Tom Waits has 

long been a Catfish audience favourite, 

and it is easy to see why, great lyrics, a 

wonderful backdrop from the rest of the 

band, and, once again, Matt Long produces 

stunning guitar to further compliment 

the track. So Many Roads, has long been 

a favourite track of mine, and there have 

been many varying versions of this song, 

but once again, Catfish pulls something 

special out of the bag, leaving you to 

meander along a never-ending freeway 

of this musical journey. Days Long Gone 

is a short, but wonderful piece of music, 

just a piano and the vocals of Paul 

Long, a beautiful track, oozing peace and 

tranquility out of every musical pore. The 

mini-album concludes with a ten-minute 

instrumental written by Matt Long. At 

ten minutes long, it ends the album perfectly, 

climbing to a crescendo, and then 

bringing you safely down to earth. The 

tenth anniversary has been celebrated 

in the best possible way, by producing an 

album of brilliant songs. 

STEPHEN HARRISON 

CHRIS BERGSON BAND 

COMFORTS OF HOME 

Continental Blue Heaven 

Chris Bergson, the New York-based 

guitarist, and singer-songwriter, returns 

with his eighth studio album, a soulful 

blend of rock and blues that pulses with 

the warmth of the deep South. Backed by 

his seasoned band; Moses Patrou on keyboards 

and vocals, bassist Matt Clohesy, 

drummer Diego Voglino, and Jay Collins 

arranging and playing horns. Bergson 

crafts a deeply personal collection of 

twelve well-crafted tunes. Co-written 

with his partner Kate Ross and featuring 

collaborations with soul singer Ellis 

Hooks and multi-instrumentalist Craig 

Dreyer, the album exudes a sincere 

warmth and homegrown joy. Bergson’s 

guitar work is a masterclass in subtlety 

and sophistication, seamlessly complementing 

the album’s soulful essence. The 

THE HENRY 

KIMBER BAND 

FOREVER AND A DAY 

Independent 

This is the debut release from this four-piece band who mix blues with a 

funky vibe and soul on all these ten well-crafted tunes. Members include 

guitarist and vocalist Henry Kimber, Alberto Manuzzi on keyboards and 

rhythm section, Tosca Tancredi on bass guitar and Felipe Drago on drums. 

Don’t You Forget My Name sees the band as a solid unit, funky guitar riffs 

meet intricate keys highlighting their undoubted skills in differing solos. 

Around The World has a Bo Didley intro and catchy chorus, upbeat tune. 

Baby, Don’t You Want A Man Like Me is full on rhythm and blues punctuated 

by some funky guitar grooves. I’m Still Walking Out The Door has a 

laid-back bluesy vibe, keyboard solo particularly infectious band jamming 

a bit here, lyrics suitably emotional and emphatic. I Lost You slows the 

tone on this bittersweet melancholic love song, this touches a nerve with 

the narrator. The Hole Down In Your Soul has a funky beat. Clean Hands is 

rhythm driven 

with keyboards 

underlying this 

haunting tune. 

Hollywood Man 

has a soulful 

vibe throughout, 

a slow burner. 

Everything Will 

Be Alright is 

an optimistic 

up-tempo tune, 

a rootsy tune. 

Final song, The 

World’s Most 

Wanted Man 

closes the release with some hard rocking blues tones. This is a release 

that rewards repeated listens, revealing new layers with each spin, solidifying 

their place as a band to watch out for. Good production, great sound, 

highly recommended. 

 

 

This is a release that rewards 

repeated listens 

DON’T YOU FORGET 

OUT OF SIGHT 

BUY MERCH 

COLIN CAMPBELL 

LISTEN 

ISSUE 141 BLUES MATTERS! 87

REVIEWS SEPTEMBER 2024 REVIEWS SEPTEMBER 2024 REVIEWS SEPTEMBER 2024 REVIEWS SEPTEMBER 2024 REVIEWS SEPT 

DIANA BRAITHWAITE 

& CHRIS WHITELEY 

FOREVER BLUES 

G-Three 

Every now and then an album comes along which simply just makes you 

smile with pleasure. The music contained herein is a collection of six 

Blues standards, treated with utmost respect, two left of field covers not 

normally associated with our preferred genre. Also in the mix are a couple 

new to me plus one original. Diana and Chris trade vocals with Chris 

supplying guitar, harmonica, cornet and trumpet along with a band. The 

Junior Wells cut Hoodoo Man Blues kicks the album off before heading 

off towards Soul slightly with a Bluesy take on You’re The Boss (Leiber & 

Stoller). Back on more traditional ground with Mean Ol’ Frisco, Moon Is 

Rising and Trouble No More. I confess to actually doing the dishes when 

I was listening to this album for the first time. It sure made that chore 

pass quickly and with a lot of pleasure. Charlie Rich is, perhaps, not often 

a name cropping up within Blues circles but Diana gets her vocal chops 

around Don’t Put No 

Headstone On My 

Grave in a very tasty 

way. Taken slowly 

with a wonderful 

piano tinkling away, 

a fine guitar bridge 

then an excellent 

harp solo before the 

vocals return again. 

Perhaps this is my 

favourite track on 

the album. Don’t 

Start Crying Now in 

Jump style befitting 

the Slim Harpo original precedes Aged And Mellow. Comparing her choice 

of man to a style of whisky is genius The traditional song Prettiest Train 

evokes its prison blues roots however why have they faded it here. Surely 

it could have been resolved. Sounding like a Jazz standard comes the 

original Somewhere Along The Line and we play out with They Raided The 

Joint. Invest now, you won’t be disappointed. 

 

 

Invest now, you won’t be disappointed 

HOODOO MAN 

NO HEADSTONE 

BUY MERCH 

LISTEN 

GRAEME SCOTT 

addition of fiery horns from trumpeter 

Reggie Pittman and saxophonist Michael 

Blake injects a vibrant Stax flavour, 

creating a dynamic balance between 

exuberant, horn-laden tracks and more 

intimate moments. The album opens with 

the upbeat Feeling Good Today, setting 

a joyful tone that persists throughout. 

Retribution, co-written with Clohesy, 

shines with gospel-infused background 

vocals and lively instrumentation. You 

Lied, features legendary drummer Bernard 

Purdie, driving a funky New Orleans 

groove. Other standout tracks include 

the swinging Laid Up With My Bad Leg 

in Lenox with its searing guitar solo, and 

Uptown Side, a relaxed ode to Bergson’s 

New York home. Chloe’s Song is a beautiful 

love song full of emotion. The album 

closes with the atmospheric instrumental 

Epilogue (Cycle 3 Descending), a final 

showcase of Bergson’s exceptional guitar 

skills, leaving listeners with a sense of 

shared contentment. 


DELICATE STEVE 

DELICATE STEVE SINGS 

Anti-Records 

Steve Marion, also known as Delicate 

Steve, has released his latest album. This 

is not a departure into vocal performance 

but rather an exploration of the unique 

“voice” of his guitar. The album features 

Steve’s guitar interpreting iconic voices 

rather than mimicking them. Collaborating 

with Jonathan Rado on bass, Kosta 

Galanopolous on drums, Renata Zeiguer 

for strings, and co-writer Elliot Bergman, 

Steve delivers a setlist that blends 

original compositions with reimagined 

classics. The version of Donnie and Joe 

Emerson’s tune, Baby is a masterclass in 

capturing the delicate nuances of a classic 

while making it undeniably his own. 

This has a ghostly atmosphere, infusing 

the song’s lead melody with a laidback 

swagger. His guitar, the centrepiece of 

the recording, takes on the lead role, effortlessly 

singing the melody with a rich, 

expressive tone. But there’s more, listen 

closely, and you’ll catch Marion’s actual 

voice woven into the ethereal choir that 

floats in the background, adding a subtle 

yet poignant layer to the harmony. Tracks 

like I’ll Be There evoking the soulful quality 

of a lost Bill Withers song, while Easy 

for You hints at Elvis Presley without 

directly covering him. Additionally, Steve 

88 

BLUES MATTERS! ISSUE 141

EMBER 2024 REVIEWS SEPTEMBER 2024 REVIEWS SEPTEMBER 2024 REVIEWS SEPTEMBER 2024 REVIEWS SEPTEMBER 2024 

reinterprets The Beatles’ Yesterday, Otis 

Redding’s These Arms of Mine, and The 

Emersons’ Baby, each rendered with his 

signature touch. The result is an album 

where the guitar takes on the role of 

a singer, offering a smooth, bold, and 

distinctly personal sound that remains 

uniquely Delicate Steve. A compelling 

atmospheric production highly recommended. 

DUKE ROBILLARD 

ROLL WITH ME 

Stony Plain Records 


Duke Robillard delivers a scorching 

tribute to blues legends, showcasing 

his deep reverence and mastery of the 

genre. The release kicks off with a fiery 

nod to Texas icon Clarence Gatemouth 

Brown on You Got Money and the 

instrumental Boogie Uproar, captures 

Brown’s infectious energy. Duke pays 

homage to legendary blues shouter Big 

Joe Turner on the piano-driven, Boogie 

Woogie Country Girl and similarly to 

Fats Domino with the rumba-infused 

Are You Going My Way. The release also 

delves into Chicago blues with stellar 

renditions of classics from Muddy 

Waters, Howlin’ Wolf, and Eddie Boyd, 

where Robillard’s vocals and razor-sharp 

guitar work shine. Chris Cote steps in for 

lead vocals on Look What You’ve Done 

and You Got Money, adding his own flair 

to the mix. Robillard has assembled a 

powerhouse band to back him up. Pianist 

Matt McCabe takes the reins on most 

tracks, with Bruce Bears stepping in on 

a couple. The rhythm section, featuring 

bassist Marty Ballou and drummer Mark 

Teixeira, keeps the grooves tight and 

relentless. Saxophonists Doug James 

and Rich Lataille add muscle, while Sugar 

Ray Norcia’s harmonica work on Look 

What You’ve Done injects extra soul. The 

album slows down beautifully with Give 

Me Back My Money, showcasing Robillard’s 

elegant touch, but the title track 

encapsulates the album’s energy. This 

release, drives forward like a hard-charging 

midnight train, fuelled by passion 

and precision. Recorded in Rhode Island, 

this album is a testament to Robillard’s 

enduring impact on the blues. 


THE BLUES BONES 

UNCHAINED 

Naked Records 

Originating from Flanders, in Belgium, The Blues Bones have been making 

great music since 2012. Unchained is their latest release, and what an 

album it has turned out to be. I was lucky enough to catch the band in a 

live environment at the Brezoi Blues Festival in Romania last month. Let 

me tell you, this band is as hot as hell at the moment. The album opens 

with Chain Gang, a brilliant lively tune that exposes the vocal talents of 

frontman, Nico De Cock. Nico has a brilliant voice, both in the studio and 

on stage. The album encompasses Blues, Soul, and Funk, and also leans 

towards the Blues/Rock scene on a couple of tracks. But, the underlying 

thread is that of the Blues. In the opening bars of, Changes, you get the 

whole range of Funk, Blues, and Soul, it’s such a fun track, full of energy 

and verve, with great lyrics and some wonderful guitar by way of Stef 

Paglia. Talking To The Lord was not quite what I expected, I was expecting 

a Gospel-type ballad, but this was not the case at all. It’s more of a 

Blues/Rocker, with the lyrics that you would associate with a Gospel-type 

ballad. A wonderful tune nonetheless. Moving On puts me in mind ever 

so slightly of 

Van Morrison. 

It’s not that the 

song is a copy 

of what Van 

Morrison would 

sing as such, it 

just made me 

think that if 

Van Morrison 

had written and 

recorded this 

song everyone 

would be 

praising him for 

another great 

song, that’s 

how good this tune is. The Tale Of Big Jim Brady can best be described as 

something of an epic track, so much so, that I’ve run out of superlatives to 

describe just how good it is. Unchained is a magnificent album, The Blues 

Bones have done themselves proud. 

 

 

Unchained is a magnificent album 

CHAIN GANG 

CHANGES 

BUY MERCH 


LISTEN 



STEVE LOUW 

BETWEEN TIME 

BFD Records 

Steve Louw is an iconic figure in South African music. In the 80s he led 

the band All Night Radio to national recognition, from 1990 to 2008 he 

had even greater success with Big Sky, his song Waiting For The Dawn 

becoming something of a torch song for the anti-apartheid movement. His 

band backed Rodriguez on those famous sell out shows documented on 

the award-winning Searching For Sugarman and wrote the song Amandla 

with Brian May and Dave Stewart for the 46664 Aids Awareness project 

inspired by Nelson Mandela. After a 13-year hiatus Steve released the excellent 

Headlight Dreams album in 2021, quickly followed by Thunder & 

Rain. As with those on new release Between Time he is working with long 

time friend and one time band mate Kevin Shirley who produces and has 

surrounded Steve with the cream of Nashville musicians, most of whom 

recorded the last Joanne Shaw Taylor album. In the spirit of his new prolific 

songwriting, we have here a double studio album spread over four sides 

of vinyl or two CDs giving us twenty top class tracks, no fillers, no rubbish. 

Steves acoustic guitar and vocals are supported by Doug Lancio (guitar), 

Kevin McKendree (keys), Rob McNelley (guitar), Alison Prestwood (bass) 

and Greg Morrow (drums) so you know the level of musicianship is stratospheric. 

Space prevents a track by track breakdown but highlights include 

the epic Giants Walk The Land, co-written with and featuring wonderful 

guitar work by Jim Moginie of Midnight Oil. It’s a vast menacing call to 

arms to protect the environment powered along by the take-no-prisoners 

rhythm section. Killers is a hard hitting song inspired by specifically by 

the Russian invasion of Ukraine but defiant to oppression everywhere. 

Streetjanes Dream starts softly but builds with crunchy rocky guitars to 

give a warning of things to come. McKendree gets the chance to show 

his piano skills on the bluesy Do Me Good (I can imagine John Lee Hooker 

singing this) and the rock.n.roller Get Real Gone. Aussie Lachy Doley 

provides stunning Hammond on the reflective Streets Of Rain, while Joe 

Bonamassa adds distinctive guitar vibes to Cruel Hand Of Fate. The album 

closes with the magnificent Highway To The Sun, an eight minute vibe fest 

of guitar with the musicians blending and coercing each other to the finale. 

Steve was right to release this as a double album, none of these songs 

deserve to be left out, there’s great diversity of blues, rock and Americana 

giving us an outstanding modern roots collection. Buy it! 

STEVE YOURGLIVCH 

 

 

none of these songs deserve 

to be left out, 

KILLERS 

STREETS OF RAIN 

BUY MERCH 

LISTEN 

MICHAEL MCDERMOTT 

LIGHTHOUSE ON THE 

SHORE/EAST JESUS 

Pauper Sky Records 

A fascinating double album from Michael 

McDermott, one acoustic and one 

electric. Destined for release on the 

same day as companion pieces of work. 

The two albums seem to fit with McDermott’s 

own view of his songwriting - “I 

guess it’s always been a bit of a balancing 

act, my multiple personalities,” says 

McDermott. “One of my personalities 

grew up listening to early Dylan, Woody 

Guthrie, Odetta, traditional Irish music, 

and Tom Waits. The other one was raised 

on The Stones, The Who, Van Morrison, 

and U2. My songwriting varies wildly, to 

sometimes great effect and other times 

a seemingly incoherent array of songs 

that never find homes on my albums. This 

time I thought I’d lean into both, make a 

quiet record and a loud one.” The Celtic 

influences run hard in the acoustic album 

Lighthouse On The Shore, as well as Tom 

Waits and traces of the late lamented 

Malcolm Holcombe. The music is deeply 

passionate and complex – no simple 

acoustic guitar here – as well as being 

very accessible. The cast of musicians 

include Heather Lynne Horton on fiddle 

and vocals, Will Kimbrough on guitars, 

banjo and mandola, Katie Burns on 

Cello. Personal favourites are Bradbury 

Daydream, a very Waits-like ode to love 

at the end of our days and Gonna Rise Up 

which is a reaffirmment to his sobriety 

(McDermott is 10 years sober) and I 

Am Not My Father, a gentle but strong 

recognition of the influence our parents 

have on us – whether we like it or not. 

The electric album East Jesus is less 

easy to fully access but worth the effort. 

The whole piece stands as testament 

to personal struggles with sobriety but 

there is no preachy feel to it. In the main 

the music is upbeat and almost triumphant, 

probably best listened to as a 

piece although there are a few standout 

numbers such as Berlin At Night which 

talks to the internal struggles and how 

love is the antidote and protection from 

them, Quicksand opens with a Buddhist 

chant and looks to the difficulties of 

avoiding the quicksand always trying to 

pull us down. Two fine albums and each 

worthy of a listen although my personal 

favourite is Lighthouse and if I could only 

have one, then that would be the one. 

ANDY SNIPPER 

90 



ELLES BAILEY 

BENEATH THE 

NEON GLOW 

Cooking Vinyl 

Unless you have been living on the moon, 

or in a cave, you would be aware of all the 

plaudits that have been given not just to 

Elles Bailey, but also to this new album. 

It reached number12 in the UK album 

charts and has received well over a million 

streams. Now that is very impressive, 

no matter which way you look at it. There 

are many bands I’m sure would be very 

happy with those statistics, and I’m talking 

about huge bands from the UK and 

America. So, to the album. Beneath The 

Neon Glow is jam-packed with gem after 

gem of amazing tunes. The album opens 

with, Enjoy The Ride, now this could be 

a metaphor for what you are about to 

listen to, and if that is the case, then so 

be it. The song contains great vocals, 

which is something of an understatement, 

and some superb slide guitar. This 

more or less sets the tone for the rest 

MIKE ZITO 

LIFE IS HARD 

Gulf Coast Records 

Great band, excellent material played 

with plenty of panache, grit and fury 

Zito is a very experienced and highly regarded artist through his solo 

works and his membership of Royal Southern Brotherhood and Blood 

Brothers but considers this to be his best album to date. The album was 

co-produced by Joe Bonamassa and Josh Smith who also contribute their 

guitar skills. Opener Lonely Man is a cover of Little Milton’s scorcher with 

fiery guitar licks, riffing horns, wailing organ and passionate vocals. This 

album was planned by Zito and his beloved wife Laura before her untimely 

death with pancreatic cancer and every ounce of his pain is poured into 

the Fred James ballad Life Is Hard with heartfelt vocals and an incredible 

guitar solo. Wow! The more upbeat cover of Stevie Wonder’s Have A Talk 

With God aptly features gospel styled backing vocals. The lengthy original 

blues ballad Forever My Love is an absolute standout track featuring 

poignant lyrics, emotional vocals and a huge production job. A cover of 

Lefty Frizzell’s country blues classic No One To Talk To (But The Blues) 

rocks along nicely. 

Great band, 

excellent material 

played with plenty 

of panache, grit 

and fury. The cover 

of Tinsley Ellis’ 

Dying To Do Wrong 

is a burning, angry 

blues-rocker with 

Zito spitting out 

the vocals and it is 

followed by Zito 

putting a bluesy 

feel to the Guess 

Who’s pretty 

ballad These Eyes which features strings and cooing backing vocals. A 

sizzling cover of Tab Benoit’s song Darkness is followed by the atmospheric 

pleading original Without Loving You. Walter Trout’s edgy song Nobody 

Moves Me Like You Do is a crunching blues-rocker. This fine album closes 

with the Rev Gary Davis spine-chilling classic Death Don’t Have No Mercy 

which starts with Zito singing unaccompanied but builds into a tour-deforce 

with gospel harmonies and a full orchestral workout. It’s a cracker 

and a must have album for all blues-rock fans. 

DAVE DRURY 

 

 

LIFE IS HARD 

THESE EYES 

BUY MERCH 

LISTEN 



SHEMEKIA COPELAND 

BLAME IT ON EVE 

Alligator Records 

In the heart of Nashville, Shemekia Copeland’s 

latest masterpiece, Blame It On Eve, came to life 

under the expert production of Will Kimbrough, marking their fourth 

collaboration. This 12-track album dives deep into pressing issues like 

women’s rights and climate change, while also carving out moments for 

light-hearted escapades. The autobiographical blues boogie of Tough 

Mother offers aa powerful bluesy punch, setting the tone for an album 

that balances thanks with joy. The anthemic title track takes a spirited yet 

earnest stand on reproductive self-determination, while Wine O’Clock invites 

listeners to unwind and enjoy a cheerful respite. Jerry Douglas lends 

his dobro to Tee Tot Payne, a captivating true tale of the bluesman who 

mentored Hank Williams, adding historical depth. DaShawn Hickman’s 

sacred steel infuses Tell The Devil with uplifting energy. Alejandro Escovedo 

brings his roots-rock flair to the celestial Is There Anybody Up There, 

a haunting question that echoes in the listener’s soul. The poignant Belle 

Sorciere sees Copeland singing in French, its haunting melody crafted by 

Pascal Danae of 

blues rock band 

Delgres, adding 

an international 

flavour to the 

mix. 

Copeland’s 

raw, emotive 

rendition of her 

father Johnny 

Copeland’s 

Down On 

Bended Knee 

delivers a deep 

blues sparkle, 

leading into the 

reflective finale, Heaven Help Us All, a classic reimagined with poignant 

urgency. Passionate, charismatic, and unapologetically bold, this newest 

release stands as a landmark in Copeland’s evolving career, poised to 

garner acclaim as one of her most powerful releases yet. 

 

 

poised to garner acclaim as one of her 

most powerful releases yet 

TOUGH MOTHER 

EDIT 

BUY MERCH 


LISTEN 

of the album. 1972 is the kind of song 

that appeals to me, a story about bygone 

years when the world was a much safer 

and calmer place, the lyrics reminiscing 

about the type of clothes that we used to 

wear, carefree days all set to a wonderful 

background of musicians producing 

brilliant music. This is what makes the 

album so good, not just the great lyrics, 

and the vocal talents of Elles, but it’s also 

the collection of amazing musicians all 

at the top of their game. If This Is Love 

has a sultry feel allowing Elles once again 

to demonstrate her vocals, this time in a 

rockier style, up-tempo, get off your ass 

and move around. Love Yourself contains 

one of the most uplifting lines in a song 

that I’ve heard in a long time,” Take a look 

in the mirror so you can see what we can 

see” simply beautiful. The album concludes 

with, Turn Off The News, so this is 

not just a wonderful album, it’s also full 

of good advice. Bravo Elles Bailey. 


J.D. SIMO & LUTHER 

DICKINSON 

DO THE RUMP 

FORTY BELOW RECORDS 

Individually, JD Simo and Luther Dickinson 

are building their own legacies as 

solo artists, sidemen, songwriters and 

guitar heroes. Together, they’re a creative 

force to be reckoned with. On the 

pair’s first collaborative album, Do The 

Rump! the musicians trade blistering guitar 

solos, taking turns at the microphone, 

and turning their classic influences, into 

something contemporary. reinterpreting 

a number of their old school favourites 

into eclectic electrifying anthems. The 

eight songs were recorded at House of 

Grease, Simo’s home studio in Nashville 

during a series of live-in-the studio 

performances, joined by drummer Adam 

Abarashoff whose background in afro 

beat and jazz helped push Do The Rump’s 

music into unexpected directions. The 

friends captured spontaneity in its purest 

form, recording most of the songs during 

a single take, allowing a natural combination 

of grooves and guitars to lead 

the way. The album opens in fine style 

with their interpretation of the Bobby 

Charles hit, Street People, a grooving 

backbeat drives the song along with 

raggedy Smokey vocals combining with 

the grungy guitar riffs to good effect. 

92 



This is followed by JJ Cale’s Right Down 

There, featuring more catchy rhythmic 

drumming with smooth vocals and slide 

guitar slipping in and out to good effect. 

Two Junior Kimbrough covers feature, 

Lonesome Road, is driven along with 

a funky baseline and solid drumbeat, 

with spiritual wails and grungy guitar 

soloing. Title track, Do The Rump, 

features another driving groove awash 

with some wonderful slide and swampy 

guitar playing. Two John Lee Hooker 

covers also feature, Serves Me Right To 

Suffer, this ballad is given a funkier afro 

beat groove that works well, and Come 

And Go With Me, which along with the 

only original song Come On, sound to 

me the same song (Come on Baby??) 

The prior has a nice rhythm going with 

some nice atmospheric punchy guitar 

and vocals, the latter with a straighter 

forward Hooker boogie beat. The album 

closes with the nine minutes plus of RL 

Burnside’s Peaches, starting off as a slide 

infused shuffle turning into a jazz-fuelled 

jam. Personally, I would have liked a little 

more variety, but still interesting and 

really enjoyable. 

SHIRL 

KENNY WAYNE SHEPHERD 

DIRT ON MY DIAMONDS 

VOLUME 2 

Provogue Records 

His latest release is only 

eight tracks long but 

full of pace, energy, and 

classic blues notations 

with Kenny’s trademark 

on every tune. There’s 

rock, soul, and blues in 

this gumbo of stylistic 

quality. 

This is 

JIMMY CARPENTER 

JUST GOT STARTED 

Gulf Coast Records 

Jimmy Carpenter’s latest release is a spirited 

journey through the realms of blues, soul, funk 

and rock, showcasing his prowess as a saxophonist, vocalist, and songwriter. 

From the opening track a co-write with producer and guitarist 

Kid Andersen, (Feels Like) I Just Got Started, Jimmy’s soulful saxophone 

sets the tone, weaving through vibrant guitar riffs and tight rhythms, 

it’s a scene setter, such an uplifting song. His vocals, rich and expressive, 

complement the instrumental arrangements perfectly, adding depth and 

emotion to each of the songs. The arrangement of Little Walter’s My Babe 

is a true showstopper and showcases a stellar band including rhythm 

section of Jerry Jemmott on bass guitar and Derrick D’Mar Martin on 

This is a masterpiece of musicality 

drums. Another original, I Only Gamble With My Heart is a song about 

gambling but with a twist, a laid-back groove to this one. The instrumental, 

Jimmy Shimmy is joyous, Jim Pugh punctuated keyboards pushing this 

along. Shining Star is laden with soul and sax appeal. The reinterpretation 

of Night People 

is a funky romp 

bringing in a touch 

of a New Orleans 

vibe to the fore. 

Another original, 

Live Again is a soul 

ballad love song, 

very atmospheric 

and emotional. 

He chose two 

King Curtis 

tunes, Soul 

Theme and 

the final track 

Midnight Blue, both mesmerising and featuring Jerry on bass who 

played in Curtis’s band. Another self-penned tune, Keep On Stepping 

has a heavy 70s funky vibe, just superb. Another highlight is his take of 

Otis Rush’s Working Man. Leap Of Faith is a feelgood number with 

an infectious groove. The production is polished, allowing every 

instrument to shine without overshadowing the raw emotion at 

the heart of the music. This is a masterpiece of musicality. 


 

 

I ONLY GAM- 

MY BABE 

BUY MERCH 

LISTEN 



JOHN PRIMER & 

BOB CORRITORE 

CRAWLIN’ KINGSNAKE 

VIZZTONE/SWMAF 

 

 

poised to garner acclaim as one of her 

most powerful releases yet 

Veteran guitarist and vocalist John Primer first appeared on my radar 

screen with his 2015 centenary celebration Muddy Waters 100, which 

came complete with lavish packaging and a guest list comprised of a Who’s 

Who of contemporary blues stars. The dominant vibe on this latest offering, 

on which Primer shares bandleader honours with harp merchant Bob 

Corritore, is still very much McKinley Morganfield, stripped back to a simple 

cardboard sleeve and a bunch of genre stalwart sidemen, including Bob 

Stroger on bass and Anthony Geraci on piano. The spirit of 1950s Chess Records 

unrepentantly lives on, lovingly reproduced in all its lo-fi glory. Many 

of the songs are cover versions, including the John Lee Hooker-penned title 

track as well as Down In The Bottom, Feel Like Going Home and Stuff You 

Gotta Watch. You’ve heard ‘em many times before, but they’re done damn 

well. The track here called Bow Down On Your Knees turns out to be a 

remake of You 

Got To Take 

Sick And Die 

Some Of These 

Days, straight 

off Muddy’s 

legendary 

Plantation Recordings. 

Hiding 

Place, one 

of the few original 

compositions, 

fits in 

perfectly stylistically, 

while 

the vaguely 

funky feel of You’re The One is one of the few token concessions to the last 

seven decades. There are also nods to Magic Slim and Jimmy Rogers. Very 

much one for straight down the line Chicago 12-bar traditionalists, and a 

fine piece of work. 

TAKE A MESSAGE 

YOU’RE THE ONE 

BUY MERCH 

LISTEN 

DAVID OSLER 

packed with vocal hooks that are impossible 

to ignore. The opener, I Got A Woman, 

opens with a powerful guitar riff and 

sharp bursts of brass, all underpinned by 

stellar vocals. The track bursts from the 

speakers with an infectious groove that’s 

impossible to resist. The inevitable guitar 

solo, featuring a snarling neck-pickup 

tone, delivers a series of classic licks 

executed with flawless precision. The 

Middle, grooves with Hammond organ, 

brass, and choppy guitars, blending retro 

charm with contemporary flair. A wahwah 

saturated guitar solo in classic funky 

blues style highlights the track. The ballad, 

My Guitar Is Crying slows the pace, 

featuring a clean smooth guitar tone and 

soulful vocals dripping with emotion. 

Long Way Down revs up with rock-infused 

energy and powerful brass accents, 

while Never Made It To Memphis drives 

forward with chugging guitars and uplifting 

female backing vocals. Pressure, has 

a funky tone throughout and showcases 

the brass section adding to a scintillating 

drum and bass line. Final tune is the ZZ 

Top number, She Loves My Automobile, 

full of groove and style, a real live recording 

feeling to this track and the entire 

release. Play loud on repeat and just 

enjoy a master craftsman at the top of his 

game, incredible release. 

MEMPHIS ROYAL 

BROTHERS 

MEMPHIS ROYAL 

BROTHERS 

Royal Record 


Blues, Gospel and Rock are all on the 

latest eponymous release from Memphis 

Royal Brothers. Brass and groove 

heavy, the album also features sterling 

performances from lead guitarist Luther 

Dickinson, Bobby Rush on vocals and 

harmonica, Charlie Musselwhite on 

harmonica and vocals, and a strong 

house band of drummer Steve Whyte, 

bass player Jackie Clarke, Lester Shell on 

piano and keyboard and guitarist Michael 

Toles. The nine originals range from the 

bluesy opener, led by Bobby Rush, Good 

God I Got The Blues, and Goin’ South 

a slow, atmospheric blues shuffle with 

tight brass, ghostly high pitched slide 

guitar, and a loping vocal and sanctified 

94 BLUES MATTERS! ISSUE 141


harmonica from Charlie Musselwhite. 

The singer Wendy Moten makes a lasting 

impression on the spirited country blues 

of Brand New Heart which has shades of 

Springsteen, and the waltz time gospel 

of Ready to Rise, which has strong brass 

accents, and a Motown, Guitar figure 

throughout. Gimme Back the Keys to My 

Cadillac is a story song with the vocals 

of Marcus Scott putting a strong case. 

The closing Fall to Pieces is a slower 

tone poem, with an insistent piano motif 

underneath a strong brass part, and 

impassioned singing from Marcus Scott. 

It raises throughout to an upbeat ending. 

The album is a strong one, with plenty of 

musical invention and talent on display. It 

has shades of blues, jazz, and gospel with 

something to appeal to all fans of these 

genres. 

MIA KELLY 

TO BE CLEAR 

Independent 

BEN MACNAIR 

When I read the blurb that accompanied 

the album, I was led to believe that this 

would be a full-on Folk album, nothing 

wrong with that, says I. But upon settling 

down to listen to the opening track, 

Bonefish Boys, that’s not what I heard. 

Indeed, what I heard was a brilliant Jazz/ 

Blues infusion tune that immediately put 

me in a very good mood. Mia Kelly has all 

the attributes of a Folk singer, but also all 

the attributes to turn her musical hand to 

many other genres. South Went The Bird 

reverts to a more laid-back Folk type of 

song, and it also highlights the versatility 

of her vocals and songwriting skills, the 

ability to mix things up a bit, not being 

pushed into just one musical box. Mia 

originates from Quebec, Canada, which, 

if you are not aware is the large French/ 

Canadian province of the country. SI 

J’etais Franche is performed in her native 

French/Canadian tongue, once again 

demonstrating that she does indeed 

have more than one string to her bow. In 

between these tunes are more delightful 

relaxing tunes, the type that soothe any 

anxiety that you may have, I’m learning 

to relax along with the songs, certainly 

not a bad thing. Lone Dog, takes us a bit 

further toward the Blues, a raw gravelly 

vocal with the kind of message that in 

this song, Mia Kelly is a girl on a mission. 

If you want a Folk album with a few 

surprises, then this album is right up your 

musical alley. Folk, and a dipped toe into 

the Blues pond, a brilliant combination. 

RAIE 

RED BRICK ANGEL 

Independent 


Now we all know that over the last few 

years, Americana has grown all over the 

world, the genre has spread to so many 

different countries, and introduced so 

many new artists. This album is firmly 

rooted in Americana and has a great 

eclectic mix of acoustic and electric guitars, 

great lyrics, and superb harmonies. 

The majority of the tunes are written by 

Rachel Bennett (Raie) and some of the 

musicians that appear on the album. The 

songs are short and zippy, with no long 

overplaying or lengthy solos, just good, 

enjoyable songs, sung with meaning 

and feeling, not just blurted out for the 

sake of it. Crystal Girl, The title track, 

Red Brick Angel, and This Thing Called 

Love, all fall into the Americana category, 

but then Free Now comes at you from 

a much harder place, almost a Blues/ 

Rock place. The guitar solo courtesy of, 

Jon Klein is a joy to behold. This is what 

makes this album so good, Americana 

being delivered in the correct manner, 

not with sugar and spice on top, and 

being able to delve into another genre 

at ease, highlighting just how good these 

musicians are. Listening to Red Brick 

Angel has put me in a very laid-back 

kind of mood, at peace with the world. I 

predict that we’ll hear and see a lot more 

of Raie shortly. If you are looking for a 

Blues album, this is not for you, however, 

if you are looking for a fine example 

of Americana, then this is right up your 

musical alley. 


RUNE ROBERT 

FRIIS PRESENTS 

BUILT FOR COMFORT, 

VOL. 2 

Independent 

Aargh! The curse of the record hunter. 

When I lived in London back in the late 

70s and throughout the 80s, I had a regular 

circuit of second-hand record shops 

I’d investigate on my days off, looking for 

blues releases. Inevitably, I would turn 

up something labelled “Vol. 2”, usually a 

really tasty album, and then spend a lot 

of time wondering how good the first 

volume was. Sometimes I might even 

find and buy it, but sometimes not.The 

feeling came back to me listening to this 

rather classy set from Danish bass player, 

song-writer and bandleader Rune Robert 

Friis. Marking his fortieth birthday, he assembled 

a fine collection of Nordic blues 

musicians - I recall guitarist Kenn Lending 

from his frequent appearances in 

London with Champion Jack Dupree way 

back but the remainder are new names 

to me. Whatever, this is a very listenable 

and accomplished blues and related 

stuff release, with various styles, mostly 

between 60s UK blues (names like John 

Mayall and Brian Auger came to mind) 

and Chicago styled songs, and a nod to 

blues-rock with the powerful Boomer 

Bends. Singer Sara Jana Westphal has a 

voice ideally suited to the material (and 

she channels her inner Joni Mitchell on 

Annabelle and touches almost on country-soul 

with set closer Keep Warm), 

though with Rune himself taking the lead 

on the modern-sounding, funky, One 

Dimensional Man, and fellow bandleader 

Chris Grey duets with Sara and spars 

on guitar to wonderful effect with 

Jesper Heinz on the aptly titled Gritty 

Street. The instrumental Milkman has a 

thoughtful, 60s experimental acoustic 

feel. What’s on Vol. One? I’m gonna have 

to track it down - but hang on. These 

days I only need to click online… 

NORMAN DARWEN 

SEAN TAYLOR 

END OF THE RAINBOW 

Independent 

Sean Taylor’s newest release is an evocative 

exploration of hope intertwined 

with despair, a reflection of the turbulent 

times we live in. In an era marked by war, 

deprivation, and division, Sean captures 

the tension between the darkness that 

surrounds us and the enduring light of 

human resilience in these eleven songs. 

Through each track, he weaves narra- 



tives of terror, famine, and isolation, yet 

reminds us of the power in solidarity and 

the triumph of tenderness over cruelty. 

The opener, Berlin, is a tribute to the 

vibrant and inspiring city that has left an 

indelible mark on him. Tracks like Eternal 

Damnation, 2024, and The End delve 

into the world’s bleakness, confronting 

the inevitable struggles of life. Yet, the 

releases overall message is clear: in the 

face of despair, we must continue and 

never stop asking for more. Invitation, 

examines the complexities of love and 

relationships, acknowledging our imperfections, 

whilst Mary Jane offers a taste 

of London-town Americana, complete 

with mandolins and banjos. The haunting 

DWP reflects his own individual experiences 

with a broken welfare system, 

a tribute to those pushed to the edge 

by societal neglect. Searching For Skip 

James recounts the rediscovery of the 

blues legend in Mississippi, inspired by 

the film Two Trains Running. Way Down 

In Enniscorthy brings a boogie-woogie 

flair to the lively Wexford town, and Only 

Beauty Can Save The World echoes a 

plea for universal human rights. 

The release concludes with the hopeful 

anthem Gaia, celebrating our connection 

to Mother Earth. The End of the Rainbow 

marks his second collaboration with 

Brighton-based producer Ben Walker, 

delivering a powerful testament to the 

resilience of the human spirit. Quite simply, 

Sean is one of the best wordsmiths 

around. 


SISTER SUZIE & 

ANDY TWYMAN 

NOTHING IN RAMBLING 

Another Planet Music 

Sister Suzie and Andy Twyman have 

been touring the UK and Europe for 

quite a while bringing their own take on 

the 1920s Blues scene. This album was 

recorded live on April 20th, 2024, at The 

Bush Hall in London. It is a collection 

of sometimes forgotten Blues tunes 

performed as an acoustic duo. The result 

is superb. Nothing In Rambling opens the 

set, originally written and performed by 

Lizzie Douglas, aka, Memphis Minnie. In 

fact, there are five compositions from 

Memphis Minnie on the album. Nothing 

In Rambling, as I mentioned earlier has 

somewhat been forgotten as a Memphis 

Minnie tune, but it’s as good today as it 

ever was. It’s easy to forget that Memphis 

Minnie has far more in her back 

catalogue than When The Levee Breaks. 

I digress, Sister Suzie & Andy Twyman gel 

so well together, simplicity itself, a wonderful 

vocal, and an acoustic guitar, what 

more could you ask for? An appreciative 

audience, well this album completes a 

musical hat-trick. Soul Of A Man, (Blind 

Willie Johnson) is another track that I’ve 

not heard in many a while. Listening to 

this version with Suzie &Andy has given 

me goosebumps. It is sheer heaven, 

listening to such a fine rendition of such 

a brilliant tune written many decades 

ago by a Blues artist such as Johnson, 

who had as much influence on the Blues 

as the likes of Son House, Skip James, 

and many others. 12 Gates To The City, 

has always been a huge favourite Blues/ 

Gospel tune of mine. This song has been 

covered by more than thirty different 

artists since The Davies Sisters first 

released it around 1938-39. Sonny Terry 

and Brownie McGhee, The Rev, Gary 

Davies, Mavis Staples, and Robert Plant 

have all performed this tune. It oozes 

peace and tranquillity, whilst also reminding 

us of our spiritual assignations, 

be they good or bad. I adore this album, it 

has touched my soul, and it has reminded 

me of so many great Blues tunes that we 

sometimes overlook. Thank you, Suzie 

and Andy, for taking me on this trip down 

the Blues memory lane. 

TAB BENOIT 

I HEAR THUNDER 

Whiskey Bayou Records 


Tab Benoit returns after a 13-year studio 

hiatus with a powerful release that reaffirms 

his status as a blues torchbearer 

while pushing the genre forward. The ten 

tracks highlight Benoit’s distinctive style 

and songwriting prowess, with co-writer 

Anders Osborne adding his own guitar 

finesse to each song, enhancing the 

album’s depth and texture. The rhythm 

section, featuring Benoit’s touring band 

members Corey Duplechin on bass and 

Terence Higgins on drums, delivers a 

solid foundation throughout, with the 

legendary George Porter Jr. from The 

Meters guesting on several tracks. Recorded, 

mixed, and mastered at Whiskey 

Bayou Studios in Houma, Louisiana, this 

captures the raw energy and spirit of 

the Delta. The title track I Hear Thunder 

sets the tone with Benoit’s haunting 

lyrics, underscored by a driving beat. 

The infectious The Ghost of Gatemouth 

Brown channels a hand-jive type rhythm, 

while the poignant ballad Still Gray sees 

Benoit reflecting on lost love with soulful 

guitar solos, an absolutely stunning track. 

Benoit’s environmental advocacy shines 

on Watching The Gators Roll In, blending 

his artistic brilliance with a call to protect 

his beloved bayou. Tracks like Overdue 

and Why Why, tackle themes of love and 

human connection, with Benoit’s guitar 

work adding emotional weight to the lyrics. 

On the last song, Bayou Man, he belts 

out a love letter to his roots, with such 

passion that embodies the spirit of the 

blues. This isn’t just an album release; it’s 

a bold statement about the future of the 

blues and how to preserve it. No fillers 

here just a terrific blues artist at his best. 

THE COLD STARES 

THE SOUTHERN 

Mascot Record Label 


Indiana’s powerhouse trio, The Cold 

Stares, comprise of, singer and guitarist 

Chris Tapp, bass player, Bryce 

Klueh and drummer, Brian Mullins. This 

eleven-track release is a masterclass in 

Southern rock, blending raw authenticity 

with a refined musical touch. From 

the very first note of the opener Horse 

to Water, the album grabs hold of the 

listener and doesn’t let go until the final 

track the stunning, Mortality Blues. The 

Cold Stares have crafted a release that 

balances accessibility with depth, delivering 

melodies that linger and vocals that 

resonate with a rare emotional intensity. 

The tunes laid out are a journey through 

the highs and lows of Southern rock, 

filled with the kind of light and shade that 

defines the genre at its best. The album’s 

crunchy guitars and evocative lyrics 

create a soundscape that is as soulful 

as it is compelling, underscored by a 

bittersweet melancholy that gives it a 

96 BLUES MATTERS! ISSUE 141


unique edge. Seven Ways To Sundown is 

a particular highlight that resonates with 

anthemic tones, rhythm section particularly 

lifts this. Giving It Up has a funky 

groove and consummate bass line. Woman, 

has a slow bluesy inflection and lets 

loose at the bridge, a well-paced number. 

This release stands as a testament to 

the band’s skill, passion, and dedication 

to their craft. It’s a quality album that 

displays the band’s ability to infuse their 

music with honesty and emotion. Highly 

recommended for those who appreciate 

music with depth and soul, not your 

average rock trio, 


THE ROBIN ROBERTSON 

BLUES BAND 

ELEMENTAL RHYTHM 

Independent 

The newest release from this Scottish 

five-piece band is a refreshing dive into 

the heart of blues, displaying a deep 

understanding of the genre’s roots while 

injecting it with a modern sensibility. The 

band, led by the talented Robin Robertson, 

offers a collection of tracks that are 

both musically rich and emotionally resonant. 

From the opening track, No Good 

Man, the band establishes a powerful 

presence with tight instrumentation, 

sultry vocals from Annette Chapman and 

Robin’s soulful guitar playing, which is 

the driving force behind the album. His 

ability to blend traditional blues riffs with 

contemporary touches is impressive, 

offering something familiar yet distinctly 

original, especially on the instrumental, 

Nocturne. The rhythm section provides 

a solid backbone, with each song benefiting 

from the strong, groove-driven 

bass lines and dynamic drumming that 

keep the energy flowing throughout the 

album. Lyrically, tracks like, Same Old 

War, Better Equipment is a blues rocking 

tune, Annette’s vocals visceral on this 

political tune. Another highlight is the 

slow blues tune, I Should Have Raged, 

which captures a haunting, melancholic 

mood, underlying piano notes from Colin 

Hutcheon particularly enthralling. Final 

tune, Old Crimes And Dead Detectives 

is a more upbeat number that highlights 

the band’s versatility. Overall, this is a 

well-crafted album with a lot of distinctive 

styles and elements to the whole 

concept. Robin Robertson and his band 

have created a collection of songs that 

are sure to resonate with both longtime 

blues enthusiasts and new listeners alike. 


VANEESE THOMAS 

STORIES IN BLUE 

Overton Music 

This is the first album that Vaneese has 

released on this label. Overton Music can 

be very proud of the fact that her maiden 

voyage so to speak, has given them, and 

Vaneese, something that they could only 

have dreamt about. All the songs were 

written by Vaneese, and everyone is 

a jewel worthy of sitting on top of any 

crown. Add to that, she is the daughter of 

Rufus Thomas, music is certainly etched 

into her skin. The album opens with, Do 

Y’All, a song brimming with craft, style, 

and wonderful sentiment. From the getgo, 

this album had me thinking, that I was 

going to be transported to somewhere 

musically magical. And I was not wrong, 

far from it. When You Were My Man, 

combines Soul and Blues that would sit 

perfectly on any musical menu, with the 

rest of the songs serving as entrees and 

desserts. 1917 is a sentimental trip down 

memory lane celebrating and trumpeting 

the joys of the early 1920s Jazz 

clubs, and the effect they had on people. 

Incidentally, 1917 was also the year that 

her father, Rufus was born. A very nice 

up-tempo little ditty that is sure to put 

a smile on your face. The Last Thing On 

My Mind is a down-and-dirty Blues tune, 

extolling the amazing range of vocals 

the Vaneese possess, it’s a brilliant song, 

hitting you square in the face. You may 

think that Seven Songs is not quite a full 

album, but you would be wrong because 

the quality certainly makes up for the 

quantity. The final track, End Of The 

Road has a slightly somber storyline, but 

it is delivered in such fine style, an acapella 

Gospel tune that will leave you on 

the edge of tears. I thoroughly enjoyed 

this album, and I’m certain that will apply 

to everyone who comes into contact with 

it. Do yourself a favour, trust me, get a 

copy, and savor every moment. 


VARIOUS ARTISTS 

SILVER PATRON SAINTS- 

THE SONGS OF JESSE 

MALIN 

Glassnote Records 

New York artist Jesse Malin has enlisted 

an impressive lineup of musicians for 

Silver Patron Saints, a tribute album that 

celebrates his extensive discography. 

The album features contributions from 

legendary names such as Bruce Springsteen, 

Spoon, The Hold Steady, Dinosaur 

Jr., Lucinda Williams, Elvis Costello, 

The Wallflowers, Green Day’s Billie Joe 

Armstrong, The Kills’ Alison Mosshart, 

the late Wayne Kramer of MC5, Rage 

Against the Machine’s Tom Morello, Tommy 

Stinson, Counting Crows, Susanna 

Hoffs, and more. Each artist brings their 

unique style to Malin’s songs, offering 

fresh reinterpretations that honour 

his work while adding new layers of 

meaning. One of the many highlights is 

Bleachers’ rendition of Prisoners of Paradise 

from Malin’s Glitter In The Gutter 

album. The track, like the others on this 

stunning multi layered release captures 

the spirit of Malin’s music; raw, emotional, 

and deeply rooted in the rock and roll 

tradition. The release came about after 

Malin’s life took an unexpected turn last 

year when he suffered a rare and sudden 

spinal stroke, leaving him paralysed from 

the waist down. The album’s proceeds 

will go to his Sweet Relief fund, supporting 

his ongoing recovery. The themes to 

these twenty-seven songs are all here; 

transcendence, positivity, and global 

unity through music. These are a powerful 

collective testament to that determination 

and the enduring impact of his 

music. Jesse is an artist who has forged 

a deep connection with his fans, not just 

through his undeniable talent and relentless 

work ethic, but also through his 

genuine, down-to-earth personality. 



IBBA TOP 40 

INDEPENDENT BLUES 

BROADCASTERS ASSOCIATION 

www.bluesbroadcasters.co.uk 

POS ARTIST ALBUM 

1 GILES ROBSON SEVEN BLUES CLASSICS 

2 CHRIS CAIN GOOD INTENTIONS GONE BAD 

3 ERROL LINTON BREAK THE SEAL 

4 ROBIN BIBI BIG BAND BLOWING A STORM 

5 THE FABULOUS THUNDERBIRDS STRUCK DOWN 

6 NEIL SADLER PAST TO PRESENT 

7 TOM MANSI & THE ICEBREAKERS EYEBALL 

8 THE ZAC SCHULZE GANG LIVE & LOUD 

9 JOHN MAYALL & THE BLUESBREAKERS WITH ERIC CLAPTON 

10 ALICE ARMSTRONG LIVE AT AREA 88 

11 BYWATER CALL SHEPHERD 

12 DOUG DUFFEY & BADD AIN’T GOIN’ BACK 

13 ALBERT CASTIGLIA RIGHTEOUS SOULS 

14 THE BAD DAY THE IRISH GOODBYE 

15 CONNOLLY HAYES REMEMBER ME 

16 ROBERT JON & THE WRECK RED MOON RISING 

17 CHRISTOPHER WYZE & THE TELLERS STUCK IN THE MUD 

18 JOANNE SHAW TAYLOR HEAVY SOUL 

19 WILLIE BUCK & THE DELMARK ALL-STARS LIVE AT BUDDY GUY’S LEGENDS 

20 MISTY BLUES I’M TOO OLD FOR GAMES: TRIBUTE TO ODETTA 

21 RORY BLOCK POSITIVELY 4TH STREET 

22 SEAN WEBSTER SUMMER HAS GONE 

23 KELLY’S LOT THE BLUES REMIND ME 

24 TREVOR B. POWER BAND ARE WE EVER FREE 

25 ELIZA NEALS COLORCRIMES 

26 ADAM SWEET LIVE AT CRESCENT RECORDS 

27 JOE BONAMASSA LIVE AT THE HOLLYWOOD BOWL WITH ORCHESTRA 

28 ANDRES ROOTS SOLO PIECES 

29 THE MILK MEN HOLY COW! 

30 AMANDA FISH KINGDOM 

31 JAMES OLIVER BAND LESS IS MORE 

32 THE COMMONERS RESTLESS 

33 THE DIRT ROAD BAND RIGHTEOUS 

34 DAMON T STAND MY GROUND VOL. II 

35 THE CINELLI BROTHERS ALMOST EXACTLY… 

36 DIANA BRAITHWAITE & CHRIS WHITELEY FOREVER BLUES 

37 BEAUX GRIS GRIS & THE APOCALYPSE HOT NOSTALGIA RADIO 

38 CEK & THE STOMPERS MR. RED 

39 PHIL COYNE & THE WAYWARD ACES PHIL COYNE & THE WAYWARD ACES 

40 JOHN MAYALL THE SUN IS SHINING DOWN 

IBBA PRESENTER’S 

PICKS OF 

THE MONTH 

SEPTEMBER 2024 

BISON HIP 

WELCOME TO THE 

REST OF YOUR LIFE 

BEAUX GRIS GRIS & 

THE APOCALYPSE 

HOT NOSTALGIA RADIO

ALASTAIR GREEN 

STANDING OUT LOUD 

RUF 1310 CD 

RUF 2096 LP 

www.rufrecords.de 

www.ampeddistribution.com 

+++ NEWS +++ NEWS +++ NEWS +++ NEWS +++ 

A selfconfident Bluesrock sttement. 

Guitar virtuoso Alastair Greene has artfully managed a dynamic solo career 

while contributing to the music of notable artists such as Grammy-winner 

Alan Parsons and soul-blues Grammy nominee Sugaray Rayford. Greene‘s 

latest release, Standing Out Loud, is a commanding declaration poised to 

solidify his position as a seasoned veteran in the blues rock world. With 

a strong batch of original songs rooted in blues and southern rock traditions, 

it builds upon the momentum created by his critically acclaimed 

solo releases of recent years.

BM ISSUE 141 Sept

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