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4 ISSUE 144 : BLUESMATTERS.COM

ELCOME

KAI STRAUSS

TENBY BLUES FESTIVAL

SIEGAL & MASTRO

TOP ALBUMS OF 2024

EDINBURGH BLUES CLUB

BLUES BROTHERS

THE STATE OF SMALL VENUES

STEPHEN WILSON

NEIL SADLER

PURE PRAIRIE LEAGUE

FOGHAT

STEVE HILL

BIG BLUES REVIEWS


WITH SOUL AND STYLE

AN INTERVIEW WITH KAI STRAUSS

In the world of modern blues, few artists embody the genre’s timeless spirit

quite like Kai Strauss. A torchbearer for authentic electric blues, Strauss has

spent decades honing his craft, blending fiery guitar work with heartfelt vocals

and an undeniable stage presence.

Colin Campbell

Supplied

Whether channelling the gritty essence of

Chicago blues or infusing his own German

roots into the music, Strauss has earned

a reputation as a dedicated musician who

bridges tradition and innovation. Blues matters

caught up with Kai to discuss his journey,

his influences, and his newest release Wailin’

In Vienna.

A TEENAGE SPARK

Born in the 1970s, Strauss found his passion

for music during his teenage years in

the 1980s, when musicians were idolised as

modern superheroes. “I guess that’s why I

wanted to be one,” Strauss says with a chuckle,

admitting he later realised the su-perhero

glamour doesn’t quite reflect the musician’s

life! Still, he’s deeply content: “I’m happy. It’s

a good life. I do what I love to do.” His first

encounter with the guitar came at age 11,

starting with simple tunes on a nylon-string

acoustic guitar. Strauss fondly recalls, “It was

just children’s songs and later some Cat Stevens.

Just strum-ming parts, that’s what we

did.” Though he didn’t come from a musical

family, he credits his mother for nurturing his

early love for music. “She loved to dance and

en-joyed music, and her enthusiasm left a

lasting impression”.

DISCOVERING THE BLUES

Formal lessons at a local music school laid

the groundwork for Strauss’s early skills. By

his mid-teens, however, his heart was set on

the blues, driven by a fascination with Stevie

Ray Vaughan and Muddy Waters. “I wasn’t

the best student; all I wanted to learn was

how to play like Stevie Ray or Muddy.” Much

of his education came through self-teaching,

jamming with local musicians, and poring

over records. “I wasn’t into jazz chords or

rock songs, I just wanted to learn those classic

blues riffs.”

BUILDING A CAREER

At 17, Strauss joined his first band under a

local musician named Martin. They played

a mix of blues rock, Hendrix covers, and original

songs. “Martin would pick me up for rehearsals

because I didn’t even have a driver’s

license yet.” A year later, Strauss formed his

own band, eager to explore a more traditional

blues sound.

In the late 1980s and early 1990s, Strauss

became a regular at a weekly blues jam

session in Osnabrück, a city near his hometown.

“It was amazing, there was no inter-net

then, so these jams introduced me to a whole

world of blues; players like Pee Wee Crayton,

Ronnie Earl, and Gatemouth Brown.”

The Osnabrück scene also pro-vided Strauss

with opportunities to hone his skills and gain

stage experience.

GERMANY’S BLUES SCENE

THEN AND NOW

“Back then, there were more clubs, it was

easier to find places to play during the week.

Now it’s mostly weekends.” Despite the

changing landscape, he fondly recalls the

supportive community of musicians and

venues that helped him grow.

Through dedication and a deep love for the

genre, Kai Strauss has become one of Europe’s

premier blues guitarists.

ISSUE 144 : BLUESMATTERS.COM 7

THE BEST ADVICE AND INFLUENCES

ALONG THE WAY

Throughout his musical career, Kai Strauss has learned

much from those around him. When asked about the best

advice he received, Strauss doesn’t cite a singular piece of

wisdom but instead reflects on the lasting influence of his

collaborations, particular-ly with Memo Gonzalez. “Playing

with Memo for 15 years was incredibly important for

my growth as both a musician and a stage performer.

He taught me how to walk on stage with confidence and

really ‘go for it. Also, I don’t think I would be a professional

musician without the jam sessions I attended,” he

admits. He also humorously re-flects that the one piece of

advice he wishes he’d received earlier was to “start saving

money for the future”, something he believes would have

been helpful as he moved forward in his career.

WHAT THE BLUES MEANS TO KAI STRAUSS

“It’s the music I love, growing up in Germany in the 1980s,

blues was an uncommon genre for young people”, but

Strauss was captivated from the start. “I just fell in love

with it, even though it wasn’t the music most 13 or 14year

olds were listening to.”

However, Strauss is careful not to over-romanticise the

genre. He recognises that, as a European who grew up in

a comfortable environment, his relationship to blues is

different from that of its originators. “I’m a guest in the

blues culture, I see myself more as a fan playing for other

fans, rather than as a blues man in the traditional sense.

THE CHANGING BLUES AUDIENCE

These days, his crowds tend to be male and mostly fifty

and older, a trend he be-lieves is tied to the aging of both

the musicians and their fanbase. “When I first start-ed

playing, we had younger people in the audience, but I

think the audience grows older with the band. While the

blues scene may not attract many young listeners right

now, as people age and experience life’s challenges, more

will come to appreciate the depth of the music. At 18,

you can’t really relate to the pain and heartbreak in blues

lyrics, but when you’re older, the lyrics hit harder, and I

think that’s when people dis-cover the blues.”

THE STRUGGLE TO ATTRACT

YOUNGER AUDIENCES

Though Strauss expresses satisfaction with the audiences

he plays for, he acknowl-edges the challenge of attracting

younger listeners. “It’s difficult to get young people

into clubs. Once they’re there, they’ll realise that blues

isn’t about old men playing sad songs. It can be a great

time. You must go through sorrow and pain to really under-stand

blues,” he says. “When you’re young, you think

you’re invincible. You don’t want to listen to music about

life’s struggles. But once you get older, the lyrics start to

resonate.”

THE CREATION OF WAILIN’ IN VIENNA

For Kai Strauss, making music is not just about playing

the guitar, it’s about connect-ing with the right people,

the right ideas, and finding the right moment. The production

process for his new album is a perfect example of

this. According to Strauss, the ini-tial spark for the album

came from his longtime collaborator, Dani Gugolz, a Swiss

bassist based in Austria. “Dani had already produced

some blues sessions in Vienna, and after one of them, I

mentioned that one day I’d love to record a 50s-style tradi-tional

blues album. A year later, Dani called me up with

the perfect opportunity, a five-day window in his studio

to make the dream a reality”.

This collaborative spirit formed the backbone of the

album’s creation. With Dani han-dling much of the logistical

side, Strauss was able to focus on the music, beginning

with a series of original songs. He had considered covering

some classic blues tracks, but soon found himself

writing so much original material that covers became

unnec-essary. “I think it was a good thing, because it gave

me a chance to fully embrace that classic blues sound in

my own way.”

A CLASSIC SOUND WITH A MODERN TWIST

One of the most striking elements of Wailin’ In Vienna, is

its authenticity. The album is a love letter to the 50s blues

era, with Strauss drawing on his influences to create

something that feels familiar but uniquely his own. While

recording, Strauss and his band aimed for a live feel.

They recorded most tracks in a home studio with minimal

overdubs, capturing the raw, organic energy of a live

performance.

The results are undeniable. The album’s old-school sound

is clear, but Strauss em-phasises that there’s no intention

to mimic the past. “I’m not trying to recreate BB King or

Muddy Waters; I’m just writing in that style with respect

for the period.”

ASSEMBLING THE DREAM TEAM

Creating a cohesive sound meant bringing in the right

players. Strauss called upon Rusty Zinn, an American

guitarist whom he’d previously worked with on other sessions.

Zinn, known for his soulful playing and deep blues


“The blues is so wide, there’s everything between the

fifties and the nineties, and I love all of it. But I want to

keep my influences separate, there’s no need to mix fifties

blues with a modern, funky sound. Everything has its time

and place.”

As for the future, Strauss hopes to take the album on the

road, but only if the right opportunity arises. “I wouldn’t

want to mix my band’s modern style with this 50s project,”

he says, indicating that, should the right promoters

be interested, he might as-semble a special tour, featuring

some of the musicians from the album.

knowledge, was an obvious choice. “We had a great vibe

from the start,” says Strauss.

In addition to Zinn, the album features a range of talented

musicians from Vienna’s blues scene, many of whom

Strauss had worked with before. The rhythm section

was filled out by Peter Muller, a drummer with a home

studio, and Strauss was also joined by a talented local

pianist, making for an intimate, collaborative recording

environ-ment. However, the real magic happened when

the horns were added. Overdubbed in the U.S., the horns

added a rich, vintage feel to tracks like Old Fashioned

Daddy and Let’s Have a Good Time.

SONGWRITING WITH SOUL

Strauss’s songwriting process is both simple and deeply

effective. “It can start with anything; a guitar riff, a melody,

or just a phrase that sticks with me”. For Old Fashioned

Daddy, the title came from a phrase that popped

into his head while he was working on a melody. Using

his phone to record a basic 12-bar shuffle, Strauss would

continue to work through the song mentally while doing

everyday tasks. The process is organic, and while Strauss

admits that his lyrics are straightforward, they fit the

tra-ditional blues form perfectly.

“I don’t write Bob Dylan lyrics,” he jokes, “but the simple

lyrics about everyday life are exactly what this kind

of music needs. Why sing about something modern,

like COVID, when you’re writing

50s-style blues?”

A BALANCED APPROACH

TO BLUES

Strauss’s latest album is a true

testament to the depth and diversity

of the blues, em-bracing the fifties

traditional sound while remaining

firmly rooted in his own experi-ence.

The musicianship, the spirit of collaboration,

and the raw emotion come

through in every track. As Strauss

looks forward, he’s not interested in

pigeonholing himself into one style.

For now, Strauss is content knowing that he’s creating the

kind of music he loves, rooted in tradition, yet distinctly

his own. And with Wailin’ In Vienna, he’s given listen-ers

a fresh look at the timeless blues tradition that continues

to captivate and inspire.

A EUROPEAN TOUR IN THE WORKS?

The conversation shifts to talk of future plans, including

a possible return to the UK. “It’s always tough to make

it work financially,” Strauss admits. “We had a good tour

lined up before COVID, but that, of course, changed

everything. Still, we played some great gigs, like the

festival in Carlisle. That was a highlight. Other than that,

there’s nothing on the books for the UK at the moment.”

However, Strauss remains optimistic about his international

reach. He is currently working on expanding

his presence beyond Germany, having already secured

agents in France, the Netherlands, and other parts of Europe.

“It’s getting more international, but slowly. I think it

would be easier if I had an American background. Having

a Ger-man passport sometimes makes things a bit more

complicated,” he says.

Despite these challenges, Strauss remains committed to

growing his international fanbase, and he is looking forward

to next year’s performances. “The calendar is fill-ing

up nicely, and even as far ahead as 2026, we’re already

getting bookings in Ger-many.”

For further information see website: https://www.kaistrauss.com/english/

EXPLORE


SUPPORT LIVE MUSIC NEAR YOU

THE BIG BLUES CHART

THE TOP 50 BLUES ALBUMS

POS ARTIST ALBUM LABEL

#1 RONNIE BAKER BROOKS BLUES IN MY DNA ALLIGATOR RECORDS

#2 SHEMEKIA COPELAND BLAME IT ON EVE ALLIGATOR RECORDS

#3 JOVIN WEBB DRIFTER BLIND PIG RECORDS

#4 MITCH WOODS HAPPY HOUR MOMOJO RECORDS

#5 DUKE ROBILLARD ROLL WITH ME STONY PLAIN RECORDS

#6 TAB BENOIT HEAR THUNDER WHISKEY BAYOU RECORDS

#7 ERIC BIBB IN THE REAL WORLD STONY PLAIN RECORDS

#8 ALBERT CASTIGLIA RIGHTEOUS SOULS GULF COAST RECORDS

#9 KEVIN SONNY GULLAGE GO BE FREE BLIND PIG

#10 CHRIS CAIN GOOD INTENTIONS GONE BAD ALLIGATOR

#11 KAT RIGGINS & HER BLUES REVIVAL REVIVAL HOUSE OF BERRY PRODUCTIONS

#12 BRUCE KATZ BAND BACK IN BOSTON LIVE DANCING ROOSTER RECORDS

#13 VANEESE THOMAS STORIES IN BLUE OVERTON MUSIC

#14 JIMMY CARPENTER JUST GOT STARTED GULF COAST RECORDS

#15 TAS CRU BAND LIVE: ALL NATURAL CAGE-FREE... SUBCAT

#16 BENNY TURNER BT NOLA BLUE RECORDS

#17 MARK HUMMEL TRUE BELIEVER ROCKINITUS RECORDS

#18 J.D. SIMO AND LUTHER DICKINSON DO THE RUMP! FORTY BELOW RECORDS

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

#20 COLIN JAMES CHASING THE SUN STONY PLAIN

#21 JONTAVIOUS WILLIS WEST GEORGIA BLUES STROLLING BLUES

#22 JAKE SHIMABUKURO & MICK FLEETWOOD BLUES EXPERIENCE FORTY BELOW RECORDS

#23 FRANK CATALANO / LURRIE BELL SET ME FREE CATALANO MUSIC

#24 MIKEY JUNIOR TRAVELING NORTH 8TH TRAIN RECORDS

#25 CHICAGO BLUES LIFTERS BLUES SCOUTS HITSKOPE MUSIC GROUP

#26 ZAC HARMON FLOREADA’S BOY CATFOOD RECORDS

#27 RICK ESTRIN & THE NIGHTCATS THE HITS KEEP COMING ALLIGATOR

#28 J.P. REALI BLUES SINCE BIRTH REALI RECORDS

#29 PIPER AND THE HARD TIMES REVELATION HARD TIMES RECORDS

#30 THE FABULOUS THUNDERBIRDS STRUCK DOWN STONY PLAIN RECORDS

#31 TORONZO CANNON SHUT UP AND PLAY ALLIGATOR RECORDS

#32 CURTIS SALGADO FINE BY ME LITTLE VILLAGE

#33 GUY DAVIS THE LEGEND OF SUGARBELLY M.C. RECORDS

#34 JOHNNY BURGIN RAMBLIN’ FROM COAST TO COAST STRAIGHT SHOOTER

#35 MISSISSIPPI MACDONALD I GOT WHAT YOU NEED APM RECORDS

#36 JOHNNY RAY JONES MYSTIC CHIEFS MOONDOGG RECORDS

#37 CHRIS DANIELS AND THE KINGS 40: BLUES WITH HORNS VOL.LL MOON VOYAGE

#38 JOE FLIP OLD SOUL (LIVE) S/R

#39 BLUES PEOPLE THE SKIN I’M IN PWI MEDIA

#40 OLLEE OWENS NOWHERE TO HIDE OLLEE MUSIC

#41 ANTHONY PAULE SOUL ORCHESTRA WHAT ARE YOU WAITING FOR? BLUE DOT

#42 KENNY WAYNE SHEPHERD DIRT ON MY DIAMONDS, VOL. 2 PROVOGUE/MASCOT LABEL GROUP

#43 PRAKASH SLIM 8000 MILES TO THE CROSSROADS BLUE POINT RECORDS

#44 KID AND LISA ANDERSEN SPIRITS AND SOUL LITTLE VILLAGE

#45 CATFISH KEITH SHAKE ME UP FISH TAIL RECORDS

#46 RANDY MCALLISTER LINES REACTION RECORDS

#47 TODD PARTRIDGE DESERT FOX BLUES S/R

#48 DAMON FOWLER BARNYARD SMILE LANDSLIDE RECORDS

#49 GARY NICHOLSON COMMON SENSE QUALIFIED RECORDS

#50 BOBBY CHRISTINA’S CARAVAN TRUE BLUES BROTHER NOLA BLUE RECORDS

The Illustrated Blues Of Brian Kramer

BANJO MAN- A MUSICAL

CHILDREN'S BOOK

When Eric Bibb contacted me this past spring to illustrate

a kid’s book based on his song Banjo Man, I was overjoyed

and knew this was a challenge I needed at this time.

We got to brainstorming and collaborating immediately

and the relationship was seamless, inspiring, informative,

and joyful!

Everything seemed to manifest with a fluid purpose

beyond the creation.

Eric wanted to make this a limited edition release at this

time, simply because we were both so stoked and proud

of what we created, we just wanted to get it out there to

share this joy and inspire young (and older) folks.

If you are a fan of Eric Bibb’s music and vibe as well as my

art and vibe, this collaboration will have you listening and

turning back to page one over and over again.

So, order your copy before they’re gone.

Lovingly signed by us both.

NEW! Banjo Man- A musical children’s book

By Eric Bibb and Brian Kramer.

Order your limited, signed edition at ericbibb.com



TENBY BLUES FESTIVAL

Iain Patience Jude Randall

My first visit to Tenby Blues Festival was a fabulous

eye-opener. Based in the beautiful Welsh, Pembrokeshire

coast, the town absolutely resonates with great music

and a warm, comforting blues vibe for three days with

music from local and international artists rocking from

morn till night.

Kicking off on the first night, US duo Erin Harpe and Jim

Countryman brought a taste of pure quality old-school

acoustic blues to the main De Valence Pavillion theatre..

A perfect start to the event, this pair have an absolute

mastery of the old blues with a set featuring music from

the likes of Memphis Minnie and Sippie Wallace. Harpe’s

guitar picking is always top-dollar and alongside her partner

Jim Countryman on Bass Ukulele, the set was a great

opening reminder of the power and beauty of traditional

acoustic blues music.

There then followed an entirely different style and set

of full-throttle, funky electric blues led by Pat Fulgoni

and his Blues Experience. With a full-on, five-piece band,

Fulgoni’s powerful vocal delivery worked wonders as he

pushed the boat out with a set based on his own compositions

and a confidence that highlighted this band’s

importance in the growing blues world in the UK.

The night was closed by a perennial favourite when Ian

Siegal took to the stage. Backed by Jonny Henderson on

keys and Tom Jukes on drums, Siegal was a true showstopper.

From the moment he stepped on the stage to the

end of the set, he never put a foot wrong, including his

dead-pan, drole delivery of sidelines and quips. Basing his

set around his older material, including ‘Swagger’, Siegal

was, for me, probably the festival giant. His voice is rich

and demanding, his own compositions. Invariably commanding

and his picking more than a match for anyone

in the blues world today. This was simply a stunning set

topped off with a quick, jokiily introduced, encore. The

festival would have been worth attending purely for this

guy and the opening night’s fabulous range of artists and

musical styles.

Saturday saw the opening of the Blues Trail, gigs spread

across the town at venues including restaurants, hotels

and halls, featuring a huge variety of musical styles and

formats from soloists to high-powered seven-piece,

jazz-infused outfits. In effect, something for everyone

was available. Dave Thomas turned out a cracking set

of acoustic, roots music including fine harp and picking.

His own composition, Repossession Blues’ is little short

of a classic these days and with a significant history and

back-catalogue under his belt, he delivered with a shining

self-assurance and a warmth in a blues trail restaurant

venue.

The evening sets included wonderful work from a rootsy

and funky pairing with Vince Lee and Sophie Lord – a

neat-rockabilly set at times with great lyricism and vocals

together with fine musicianship. Followed by one of the

busiest guys on the UK scene, James Oliver, the night

was set for success. Oliver is always a delight, his recent

album, ‘Twang’ resonating throughout the set, his Tele-


for more as he closed the main stage.

Meanwhile, a few hundred yards down the road, Andy

Twyman entertained with his usual deadpan delivery, wit

and fretwork to the fore. Twyman writes most of his own

material often peppered with innuendo and humour but

always coupled with classic acoustic blues picking which

included his one-string cigar-box routine and an encore

of deliciously risqué self-penned material.

With the night reaching a close, another UK favourite

pairing took the stage. Fran McGillvary and Mike Burke

need little introduction to UK blues lovers. A pairing that

fits together like hand and glove after many years on the

blues circuit, they grabbed the audience from the very

off, starting out with the perennial favourite ‘Trouble in

Mind,’ always a winner in my book.

Sunday, which I sadly missed due to illness and hospitalisation!,

included the always superb Michael Messer,

alongside Blockhead Chaz Jankel – a gig I’d been really

looking forward to catching – The Low Down Dirty Dog

Blues Band, and a festival closer by Sister Suzie.

caster mastery and buoyant good humour and wit had

the packed hall eating out of his substantial hand.

Not an easy act to follow, US blues-rocker, Hamilton

Loomis next took up position and carried on pretty much

where Oliver left-off with an audience happy and hungry

Organised by Malcolm Cawley and Chris Osborne, Tenby

Blues Festival is easily in line for the Best Blues Festival in

UK, for my money. The organisation is seamless and certain,

the variety of acts just excellent and the location an

absolute sure-fire winner. The Blues Trail, with free gigs

rocking all over town is just the topping on the cake.



WHEN JOHNNY MET IAN

AN INTERVIEW WITH JOHNNY MASTRO

Johnny Mastro doesn’t just play the blues—he lives them. As the frontman

of Johnny Mastro & Mama’s Boys, his raw, soul-stirring sound has become a

mainstay in the blues world, blending gritty harmonica riffs with an electrifying

stage presence that commands attention.

Colin Campbell

Supplied

Blues legends Ian Siegal and Johnny Mastro have joined

forces for a collaboration that’s as raw and authentic as

the genre itself. Their latest album, Easy Tiger, captures

the essence of their combined artistry, blending soulful

vocals, gritty harmonica, and storytelling steeped in tradition.

In this feature, we delve into the stories behind the

album, the journeys that brought these two powerhouse

musicians together, and what this collaboration means

for the future of blues.

SIEGAL: THE VOICE OF GRIT AND SOUL

Ian Siegal’s presence on stage is transformative. His

voice, capable of swinging from a gravelly growl to a

heartfelt croon, and his guitar playing, dripping with Mississippi

grit, have made him a standout figure in modern

blues. Born in the UK, Siegal channels the spirit of the

Delta in every note, weaving tales of love, loss, and life’s

raw truths.

When it comes to songwriting, Siegal embraces a fluid

and instinctive approach. “Usually, it’s just a phrase. I’ll

scroll through years’ worth of iPhone notes and find

something like My Dog Won’t Hunt. All I had was the

title,” he laughs. For Siegal, lyrics often come first, with

melodies taking shape later.

Collaborating with Mastro brought a new dimension to

his creative process. “Johnny would send me titles, and

I’d run with them,” he explains. “It’s rarely a musical idea

unless it’s someone else’s that I latch onto.”

MASTRO: HARMONICA VIRTUOSO WITH A GRITTY EDGE

Johnny Mastro’s journey into the blues world was born

from an innate passion. “I fell in love with the harmonica

when I was a kid. I didn’t even know why, but I just loved

it,” he recalls. By the time he was a teenager, Mastro was

playing in bar bands, but his real transformation came

when he stumbled upon Babe and Ricky’s Inn, a legendary

blues venue in Los Angeles.

Run by the formidable “Mama,” the club became Mastro’s

home for 16 years. “Mama encouraged me to keep going

and gave me a platform,” he says. “That’s how my band

got its name—Mama’s Boys. Without her, I’d probably be

doing something else.”

Relocating to New Orleans over a decade ago allowed

Mastro to immerse himself in the city’s vibrant music

scene. “Here, there’s a local blues scene where you can

perform regularly even if you’re not travelling constantly.

It’s a good balance,” he explains.

THE BIRTH OF EASY TIGER

The collaboration between Siegal and Mastro began with

mutual respect and a shared desire to shake things up.

“We were both on the same label years ago and crossed

paths at festivals,” Mastro says. “I’ve always admired Ian’s

songwriting, his records, and his voice. I thought it would

be cool to put a driving blues band behind him.”

Siegal was immediately intrigued, and the two began

exchanging ideas remotely. “We’d trade riffs, lyrics, and


concepts through messenger,” Mastro shares. “By the

time we hit the studio, we had everything we needed.”

Recording took place in a vintage New Orleans studio

filled with tube equipment from the 1940s and 50s. “We

rehearsed for one day and recorded everything over two

days,” Mastro recalls. “Most of what you hear is live and

on the floor. It’s raw, it’s honest, and it’s the blues at its

core.”

The album’s title, Easy Tiger, came about casually. “It was

just a note I had for an album title,” Siegal says. “When I

suggested it, Johnny loved it.” The cover artwork, featuring

a striking cat, was similarly spontaneous. “Johnny

showed me a mock-up, and we both agreed it was perfect.

It reminded me of the giant cat from The Goodies,” Siegal

adds with a laugh.

TRACKS THAT TELL STORIES

The tracks on Easy Tiger showcase the pair’s knack for

storytelling, blending traditional blues elements with

fresh perspectives.

Four on the Floor kicks off the album with a fast boogie.

“The stop-time breaks give Ian’s vocals room to shine,”

Mastro says.

Balling the Jack, inspired by old Southern slang for fast

trains, shifts tempos mid-track, adding a unique flair.

Quick to the Gun delivers a poignant critique of America’s

gun culture. “It’s about the violence here in New

Orleans,” Mastro explains. “Arguments escalate to shootings

far too often.”

Wine Headed revisits a playful blues term from Mastro’s

earlier band, describing someone who’s had a bit too

much wine.

One of the most striking tracks is Whore in Church,

inspired by a Southern expression Siegal picked up while

touring with Jimbo Mathus. “It’s stream-of-consciousness

fun,” Siegal explains. “In Europe, it gets laughs, but in the

U.S., especially in the South, reactions can be mixed.”

The Blues: A Changing Landscape

Both musicians reflect on the state of the blues today,

recognising its challenges and opportunities. Siegal

laments the genre’s increasing commercialisation. “It’s

not a working-class music anymore,” he says. “Unless

you’ve got money, you can’t afford to promote, record, or

hire a PR agent.”

Mastro shares Siegal’s frustrations, adding: “A lot of

what’s out there feels overly polished. Blues is raw, dark,

and driving. That’s the spirit I wanted Easy Tiger to capture.”

Despite the hurdles, both are optimistic about the blues’

future. Siegal highlights emerging talents like Jontavious

Willis and Blind Boy Paxton, who bring fresh energy to

traditional blues. “Young Black musicians embracing the

genre again is significant,” he says. “It shows the blues is

still relevant.”

BRINGING EASY TIGER TO LIFE

With the album complete, Siegal and Mastro are gearing

up for live performances. “We haven’t played these songs

for an audience yet, but we’re heading to the Netherlands

for a run of shows,” Mastro says. While UK dates remain

uncertain due to logistical challenges, the pair are eager

to bring their collaboration to audiences. “Festivals,

absolutely,” Siegal says. “If you’re reading this, come and

get us!”

For both musicians, the live experience promises to add a

new dimension to the album. “The songs weren’t written

with the audience in mind, but they’re built to connect,”

Mastro explains. “There’s a feelgood

energy in this album, and I

think people will respond to it.”

THE MAGIC OF COLLABORATION

The seamless chemistry between

Siegal and Mastro is evident

throughout the album. “This was

the easiest album I’ve made,”

Mastro says. “Ian trusted me to

mix the record, and everything

just fell into place.”

Siegal agrees: “We weren’t trying

to recreate something or pretend

to be anything we’re not. This

album reflects who we are.”

LOOKING AHEAD

As Ian Siegal and Johnny Mastro

continue to blaze their own trails,

Easy Tiger stands as a testament

to their shared passion for authentic

blues. The album’s raw energy,

heartfelt storytelling, and undeniable

chemistry make it a must-listen

for blues fans.

For Siegal, the journey is about

balance. “I still love being on stage,

but I’m ready to slow down,” he says.

“I want to spend more time at home—

maybe get some dogs. They deserve

someone who’s there.”

As for Mastro, the collaboration has

reinvigorated his creative spirit. “This

record is a testament to keeping it

real,” he says. “It’s organic, it’s honest,

and it’s from the heart. That’s all I could

ever ask for.”


EXPLORE


TOP 5 BLUES

ALBUMS OF

2024

As we look back on 2024, it’s clear that the year has been

a remarkable one for blues enthusiasts. With fresh talent

emerging and seasoned artists returning to the forefront,

the blues scene is alive and kicking. Our team of dedicated

writers has pored over countless releases, and after

much debate, we’ve compiled our top picks for the best

blues albums of the year. Here’s a roundup of the albums

that left a lasting impression on us and the blues community.

Compiling our top 5 blues albums of the year was no

easy feat, especially when our dedicated team of writers

each brought their own unique perspectives to the table.

Here’s a breakdown of who championed which albums

and the reasons behind their choices.

COLIN CAMPBELL’S PICKS:

A CELEBRATION OF BLUES ROOTS

Colin Campbell found himself captivated by Katie Knipp’s

Me. With her powerful vocals and masterful musicianship,

Katie’s album struck a chord with Colin, particularly

for its raw, honest songwriting. Each track offers an emotionally

rich experience, showcasing Katie’s versatility on

piano and other instruments. For Colin, this album is an

essential listen for those who appreciate authenticity and

soul-stirring blues.

Another standout for Colin was Rick Estrin & The Nightcats’

The Hits Keep Coming. This album, with its blend

of wit, charm, and infectious rhythms, showcases Rick’s

ability to breathe new life into modern blues. The playful

lyrics and captivating melodies made it an easy choice for

Colin, demonstrating why Estrin continues to be a beloved

figure in the blues world(Top 5 2024 BM).

DAVE DURY’S PICKS:

GRIT, GROOVE, AND STORYTELLING

Dave Dury was thoroughly impressed with Eddie 9V’s

Saratoga, which he describes as a bold, raw album that

pushes the boundaries of Southern soul and blues-rock.

For Dave, Eddie’s sharp storytelling, especially on tracks

like “The Road To Nowhere,” captures the essence of a

road trip through modern America.

Dave also highlighted Big Harp George’s Cooking with

Gas for its blend of blues, jazz, soul, and funk, delivered

with George’s signature humour and expertise on the

chromatic harp. It’s an album that brings joy to listeners

while showcasing technical prowess.

GRAEME SCOTT’S PICKS:

SOULFUL AND DIVERSE SOUNDS

Graeme Scott has long been a fan of Elles Bailey, so it’s

no surprise that he chose her album Beneath The Neon

Glow for his list. With standout tracks like “Ballad Of A

Broken Dream,” Graeme appreciated the soulful Americana

vibes and Elles’ rich storytelling. Her ability to blend

traditional blues with modern touches has kept her at the

top of his favourites list(Graeme Scott - my top 5 ).

Another gem for Graeme was Vanessa Collier’s Do It My

Own Way, where Vanessa’s command over vocals, horns,

and guitar left a lasting impression. Her ability to infuse

soul and funk into the blues genre was a major draw for

Graeme, making this album a top contender(Graeme

Scott - my top 5 ).

ADRIAN BLACKLEY’S PICKS:

BLUES WITH A MODERN EDGE

Adrian Blackley’s love for traditional yet innovative blues

led him to select Danielle Nicole’s The Love You Bleed.

He was particularly struck by Danielle’s exploration of

love and self-reflection, with songs like “Willpower”

showcasing her growth as a songwriter. The production,

helmed by Tony Braunagel and mixed by John Porter,

adds depth to her soulful melodies.

Adrian also chose Foghat’s Sonic Mojo for its seamless

blend of rock, blues, and even a touch of country. The

album, which includes contributions from the late Kim


Simmonds, left Adrian appreciating its cohesion and

quality.

ANDY SNIPPER’S PICKS:

BLENDING TRADITION AND INNOVATION

Andy Snipper’s top pick was JJ Grey & Mofro’s Olustee,

which he described as a masterclass in Southern soulblues.

The album’s mix of blues, rock, and soul, paired

with Grey’s storytelling, created an irresistible listening

experience for Andy(top 5 Andy Snipper).

He was also drawn to Martin Harley’s Morning Sun, an

album that brings a more acoustic, intimate approach to

blues. Harley’s heartfelt songwriting and laid-back vibe

resonated with Andy, making it a standout choice.

These top picks from our writers reflect the diverse and

vibrant blues landscape of 2024. Whether you’re drawn

to the soulful reflections of Katie Knipp, the Southern

rock energy of Eddie 9V, or the heartfelt grooves of Danielle

Nicole, there’s something in this list for every blues

fan. Dive into these albums and experience the best that

blues had to offer this year!

THE TOP FIVE OF 2024...

FIVE

FOUR

KATIE KNIPP – ME

Katie Knipp’s album Me is a deeply personal exploration

of blues and soul. Known for her powerhouse vocals and

multi-instrumental prowess, Katie delivers a collection

of ten tracks that showcase her raw talent. The album

is packed with heartfelt songwriting and rich musical

arrangements that are both intimate and resonant. Each

track feels like a window into her soul, with Knipp’s unfiltered

emotions pouring through her lyrics and melodies.

Her ability to seamlessly blend blues, rock, and soul while

maintaining a stripped-back approach makes Me a standout

in 2024. Whether it’s her powerful vocal delivery or

her impeccable piano playing, Katie Knipp has solidified

herself as a force to be reckoned with in the blues genre.

EXPLORE

ELLES BAILEY – BENEATH THE NEON GLOW

With her distinct blend of blues-infused Americana, Elles

Bailey’s Beneath The Neon Glow has been a favourite

among fans and critics alike. The album is a testament to

her ever-evolving artistry, featuring tracks like “Ballad Of

A Broken Dream” and “If This Is Love” that capture her

signature soulful sound. Elles’ voice shines throughout

the record, delivering lyrics that are as powerful as they

are poignant. Produced with a modern touch while staying

true to her roots, Beneath The Neon Glow showcases

Bailey’s ability to infuse traditional blues elements with

contemporary storytelling. The album is an emotional

journey that explores love, heartbreak, and resilience,

making it a must-listen for any blues enthusiast.

EXPLORE


Everett Zuraw

THREE

DANIELLE NICOLE – THE LOVE YOU BLEED

Danielle Nicole’s The Love You Bleed is a masterful exploration

of love and the complexities of the human heart.

Produced by Tony Braunagel and mixed by John Porter,

the album weaves together elements of blues, soul, and

rock. Danielle’s smooth, sultry vocals are complemented

by lush instrumentation, creating a rich, immersive

soundscape.

TWO

Tracks like “Willpower” and “Determination” are standout

examples of her lyrical depth and vocal prowess,

exploring themes of love, loss, and self-discovery. This

album demonstrates Danielle’s growth as an artist, solidifying

her place among the top voices in blues music today.

EXPLORE

Missy Faulkner

JJ GREY & MOFRO – OLUSTEE

JJ Grey has returned to form with his latest album, Olustee,

delivering a sound that is both soulful and deeply

rooted in Southern blues. Known for his storytelling

prowess, Grey delves into themes of life, love, and loss

with an authenticity that few can match. This album isn’t

purely blues; it seamlessly blends rock, soul, and funk,

showcasing Grey’s versatility.

Fans of JJ Grey will appreciate tracks like “Georgia Warehouse,”

where his raspy voice and powerful lyrics resonate

with listeners. Whether it’s the groove-laden bass

lines or the soulful horn sections, Olustee is a dynamic

album that captures the essence of Southern blues.

EXPLORE


ONE

EDDIE 9V – SARATOGA

Topping our list is Saratoga, the highly anticipated album

from Atlanta’s own Eddie 9V. Known for his energetic

stage presence and sharp storytelling, Eddie delivers a

raw, unapologetic blues experience with this release.

Saratoga is filled with electrifying guitar riffs, soulful

vocals, and lyrics that reflect Eddie’s unique perspective

on life, love, and the open road.

Tracks like “The Road To Nowhere” showcase Eddie’s

ability to blend Southern soul with blues-rock in a way

that feels both classic and refreshingly modern. Produced

at the legendary Studio 606 and helmed by Grammy-winning

producer Darrell Thorp, the album is as close to the

heart as you can get. Eddie’s signature wit and observational

lyrics make Saratoga a standout in the blues landscape,

capturing the spirit of a one-man band pushing

through life’s adversities.

With Saratoga, Eddie 9V cements his status as one of

the most exciting and authentic voices in contemporary

blues. The album is a journey through the highs and lows

of a musician’s life, making it the perfect soundtrack for

those who appreciate blues at its most genuine and raw.

EXPLORE

“the album

is as close to

the heart as

you can get”


10 YEARS

OF EDINBURGH BLUES CLUB

Words: Colin Campbell

Pictures: Stuart Stott

Since its founding in 2014, the Edinburgh Blues Club has

become a staple in the Scottish music scene. But beyond

the live performances and star-studded lineups, there’s

something unique about this organisation: it’s a social

enterprise dedicated to creating a space for blues music

while serving and enriching the local community. By

balancing the world of live entertainment with a commitment

to social impact, the Edinburgh Blues Club has

successfully redefined what it means to be a grassroots

music organisation.

The year 2024 marks a significant milestone for the

Edinburgh Blues Club, as it celebrates ten years of

bringing the raw, soulful sounds of the blues to audiences

across Scotland. Founded in 2014, this nonprofit, membership-based

club has become a beloved institution for

musicians, fans, and the Edinburgh community alike. Its

founders set out to preserve the essence of live blues

music, and a decade later, the club stands as a testament

to their dedication, love for the genre, and passion for

fostering a vibrant blues community even managing to

survive the recent pandemic. Also, they achieved a major

accolade in 2018 being named UK Blues Club/Venue of

the year by UK Blues Federation.

A DECADE OF MEMORABLE PERFORMANCES

In the ten years since its inception, the Edinburgh Blues

Club has hosted an impressive lineup of talent, ranging

from legendary blues veterans to promising new artists.

This commitment to quality has not only earned the club

respect in the blues community but has also allowed

audiences in Edinburgh to experience world-class performances

up close.

There have been many memorable performances, one

that stands out was Billy Branch who brought his band

Sons Of Blues to Edinburgh in 2020 from Chicago in a

tribute to Little Walter that also featured Little Walter’s

daughter, Marion Diaz reminiscing about the heady days

of Chicago blues culture and the scene around that time.

Also, when Josh Smith played, he did a guitar workshop.

There was even a question-and-answer session with the

head of Alligator Records Bruce Iglauer who brought

Toronzo Cannon and The Cannonball Express to the

club. Countless other American acts have also played

including, Lucky Peterson, Mike Zito and Albert Castiglia,

Walter Trout and Samantha Fish.

But the club has never limited itself to big names. Part of

its ethos has been to highlight diverse styles and voices


within the blues, creating space for both established and

emerging artists. The club has introduced its audiences to

the raw energy of acts like Ian Siegal, the boundary-pushing

Blues Caravan, and the deep soul of artists such as

newer artists, Bywater Call, and the rockier side of blues

with Robert Jon & The Wreck. This eclectic programming

has kept the lineup fresh, reflecting the evolution of the

blues while staying grounded in its rich traditions. Beyond

just organising events, the club also supports local

musicians and smaller acts, often booking Scottish artists

as opening acts for major performers. This not only provides

a platform for homegrown talent but also connects

local musicians with the larger blues community, creating

opportunities for collaboration and growth.

JOURNEY THROUGH EDINBURGH’S LIVE SCENE

The Edinburgh Blues Club has made its mark in

some of the city’s best-known music venues,

adapting to each space and embracing the character

it brings to the music. The Voodoo Rooms, an

iconic venue with a vintage vibe, has been a natural

fit for the club. Its intimate setting and ornate

decor offer the perfect backdrop for the blues,

making each show feel personal and immersive. For


larger events, the club has turned to places like La Belle

Angele, a storied venue that has hosted everyone from

Oasis to Radiohead. Last month the club hosted Dom

Martin Band there. The space accommodates a larger

crowd while preserving the close, interactive atmosphere

that the club prioritises. La Belle Angele’s history as a

breeding ground for musical talent aligns with the club’s

mission, bringing together Edinburgh’s vibrant musical

past and present. On occasions, the club has ventured

into unique, less conventional spaces, giving its’ shows an

added sense of novelty and excitement. For example, it

has hosted events at The Pleasance Theatre, known for

its superb acoustics and layout, John Primer was hosted

here also Bob Corritore and Thorbjorn Risager. The

Liquid Room has also been used for hosting bands like,

When Rivers Meet. Such venues add an extra layer of atmosphere

to the performances, amplifying the emotional

depth of the music and reminding audiences of the blues’

spiritual roots.

THE EDINBURGH BLUES CLUB FOUNDATION

The EBC Foundation is the community outreach initiative

of the Edinburgh Blues Club, founded on the belief that

the club’s success is measured not only by membership

numbers and ticket sales, but by its positive impact on

Edinburgh’s blues scene and community. The Foundation

has supported local musicians and venues in various

ways. It funded hotel costs for Jed Potts & The Hillman

Hunters during their tour to prevent them from sleeping

in their van and contributed significantly to the Gerry

Jablonski Band’s crowdfunding campaign to produce

a single and music video. Additionally, the Foundation

supported a crowdfunder to save a local venue, provided

funds for medical care for their friend Matt Long still

sadly missed, and prepaid future gigs for local musicians

whose livelihoods were heavily affected by the Covid-19

pandemic.


A LEGACY IN THE MAKING

As it celebrates its tenth anniversary, the Edinburgh

Blues Club shows no signs of slowing down. The team is

as dedicated as ever to bringing top-tier blues talent to

the Scottish capital and expanding the reach of the genre.

In the spirit of looking forward, they plan to introduce

new initiatives in the coming years, such as educational

workshops, collaborations with other music organizations,

and a continued focus on discovering and supporting

emerging artists.

to have experienced a night at the club, it’s clear that the

blues are alive and well in Edinburgh, carried forward by

the passion and dedication of this remarkable organisation,

whose committee, be them Directors or members

do this for the love of live blues infused music. Here’s to

the next ten years of blues in the heart of Scotland—long

may it play.

More on the EBC website: edinburgh-blues.uk

FINAL THOUGHTS: A DECADE OF DEDICATION

The success of the Edinburgh Blues Club is a reminder of

the enduring appeal of live music and the power of community.

For ten years, it has been a space where the soul

of the blues comes alive in every riff, every heartfelt lyric,

and every shared moment between artist and audience.

The club has remained true to its founding ethos: making

blues accessible, fostering community, and celebrating

the magic of live performance. As it steps into the next

decade, the Edinburgh Blues Club stands as a beacon for

blues enthusiasts everywhere. It’s more than a venue or a

series of shows; it’s a community bound by a love of music

that transcends time and place. For those lucky enough


THE DYNAMIC DUO BEHIND

YORK’S VIBRANT MUSIC SCENE



Meet Paul Winn and Ben Darwin - the masterminds

behind a beloved radio show, a thriving blues festival,

and a rocking band that’s taking the local scene by storm.

LISTEN

RADIO SHOW

Stephen Harrison

Keery Irvine

In a cozy studio tucked away in York, England, the

airwaves come alive with the sound of blues music and

infectious laughter. This is the domain of Paul Winn and

Ben Darwin, the dynamic duo behind the wildly popular

“Fab Folk and Blues” radio show, which has been captivating

listeners for the past five years.

But their influence extends far beyond the confines of

the studio. Winn and Darwin are also the driving forces

behind the York Blues Festival, a one-day celebration of

all things blues that has become a must-attend event for

music lovers across the region. And if that wasn’t enough,

the two are also the frontmen of D C Blues Band that

has been steadily building a loyal following with their

high-energy performances and infectious camaraderie.

FROM HUMBLE BEGINNINGS TO RADIO STARDOM

The story of Winn and Darwin’s radio journey began

nearly a decade ago, when Wynn was a guest on a local

radio show in York. “The presenter said to me afterwards

that I was a natural on the microphone and asked if I’d like

to be his understudy,” Winn recalls. “I snapped his arm off,

really.”

Winn soon found himself hosting his own show, which he

dubbed “Fab Folk and Blues.” It was a three-hour extravaganza

that allowed him to indulge his passion for the

blues. But when the station was sold, Wynn found himself

out of a job – and determined to keep the music alive.

“I really got the bloody bug for it,” Wynn says. “So, I started

doing work for this station in Scarborough, and then I

got asked to work for another station in Wetherby, where

I had the blues hour.”

It was around this time that Darwin, a longtime friend

and fellow musician, started getting involved. “I just came

around a little bit, for a couple of nights,” Darwin says.

“Then I started doing a couple of gigs roundups, and it

was building up to COVID that I really joined in.”

A DYNAMIC DUO TAKES THE AIRWAVES BY STORM

The partnership between Winn and Darwin proved to be

a stroke of genius. Their natural chemistry and infectious

enthusiasm for the blues quickly won over listeners, and

the “Fab Folk and Blues” show became a must-listen for

music fans across the region.

“We quite often go down some random wormholes

because we started introducing, not well, not on purpose

humour, but it was just random facts, the most stupid

things, “Winn explains. “It’s like, ‘Oh, yeah, big Bill Booms,

you there. He was seven foot two.’ ‘That’s the size of a

panda bear,’ sort of thing, you know.”

Darwin chimes in, “And then it was Albert Collins. And I

was like, ‘I think, turn around. Says, oh yeah. That was the

husband of EastEnders actress Michelle Collins,’ or whatever

it was, you know. And he kind of started from there,


organizing a bit of a piss up with a load of bands in and we

just invite people to turn up,” Darwin says with a chuckle.

PROMOTING NEW TALENT AND MAINTAINING QUALITY

While the festival’s laid-back vibe is a big part of its

appeal, Winn and Darwin take the curation of the lineup

very seriously. They’re committed to showcasing a

diverse array of talent, from established acts to up-andcoming

artists.

“We try to get as wide a variety of bands as we can fit in in

the one day,” Winn explains. “If somebody doesn’t like one

band, that’s cool, they’re probably going to like the next

one.”

This approach has led to some memorable moments, like

the time they booked a heavier band that divided the

audience. “We had people going into the other bar going,

‘Oh, this is too noisy for me,’” Darwin recalls. “And we had

people coming up to us going, ‘Oh, my God. Where did

you get these from? These are amazing.’”

just stupid little things like that.”

This playful banter and willingness to veer off the beaten

path has become a hallmark of the show, setting it apart

from the more strait-laced blues programs that dot the

airwaves. “We just play it on how we speak to each other

normally,” Wynn says. “Yeah, either on radio or band or

whatever we’re doing.”

BUILDING A BLUES EMPIRE, ONE GIG AT A TIME

While the radio show has been a labour of love for Winn

and Darwin, their true passion lies in their work as

musicians. The two have been playing together in various

bands for over a decade, and their current outfit, a

blues-infused group, has been steadily building a reputation

as one of the most exciting acts on the local scene.

“We’ve had a few changes in lineup over the years, but

Ben and I have been the only ones,” Winn says. “We just

got, like, it’s like, we’ve got our own personality, and the

band itself got its own personality as well, you know,

which comes across when people come and see us.”

This commitment to creating a unique and engaging live

experience has also been a driving force behind the York

Blues Festival, which Winn and Darwin have been organizing

for the past several years.

“It’s about what we want to do, and it’s our personalities,

and it’s kind of quite nice because, again, it’s sort of, it’s

about what we want to do, and it’s our personalities,”

Darwin explains. “We don’t try and change something

that’s not broken. You know, it works.”

The festival has become a beloved annual event, attracting

blues fans from across the region who come to

soak up the relaxed, friendly atmosphere that Winn and

Darwin have cultivated. “It’s just about me and me mate,

Winn and Darwin’s dedication to nurturing new talent

extends to their radio show as well. They use the platform

to promote emerging artists and help them gain exposure,

often inviting them to perform live in the studio.

“We sort of become friends’ acquaintances of a lot of

them, like you will in your role, and then then you invite

him to come and play, and they’re well, up for it, because

we, we don’t have the biggest budget in the world,” Winn

says.

DREAMING BIG AND STAYING GROUNDED

As their empire continues to grow, Winn and Darwin

remain grounded and focused on the things that matter

most to them – creating great music, fostering a sense of

community, and having a damn good time doing it.

When asked about their dream guests for the radio show,

the two rattle off a list of blues legends, from Derek

Trucks and Susan Tedeschi to Dennis Gruver and Matt

Schofield. But they’re just as excited about the prospect

of having their own band perform on the show, even if the

logistics might be a bit tricky.

“I would love for our band to play on our show, but we’re

too noisy,” Winn admits with a laugh. “It’d be an absolute

nightmare, wouldn’t it, and we’d be squeezed in that

room, and it’d sound horrible.”

For now, Winn and Darwin are content to keep doing

what they love, whether it’s entertaining listeners on the

radio, rocking the stage at the York Blues Festival, or simply

jamming with their bandmates. And as long as they’re

having fun, their fans will be sure to follow.

“It’s just about me and me mate, organizing a bit of a piss

up with a load of bands in and we just invite people to

turn up,” Darwin says. “Why try and change something

that’s not broken?”


THE SILENT STRUGGLE

UK’S SMALL VENUES ON THE BRINK

+ Ian Potter

In recent years, the UK has seen a worrying trend that’s

casting a dark shadow over its vibrant music scene: the

closure of small, grassroots music venues. The places

that once gave birth to future superstars and nurtured

emerging talent are finding it harder than ever to keep

their doors open. And while stadium tours and festival

headliners continue to dominate the spotlight, it’s the

smaller, community-driven venues that are struggling to

survive, often with little attention or support.

THE RISE OF BIG ACTS AND THE DECLINE OF GRASSROOTS VENUES

It’s hard to miss the buzz surrounding major artists and

their stadium tours. Sold-out arenas, lucrative ticket

sales, and wall-to-wall media coverage create the illusion

that the music industry is thriving. But beneath the

glittering surface lies a harsh reality: while big-name

acts rake in millions, smaller venues, which serve as the

lifeblood of the music scene, are teetering on the brink of

extinction.

Grassroots venues have long been the incubators for new

talent, the places where bands can cut their teeth and

develop their craft. However, in the current climate, these

venues are struggling to attract audiences. With ticket

sales declining, many are forced to shut down, unable

to compete with the attention and resources that are funneled

into larger, more established acts.

A PERFECT STORM: THE CHALLENGES FACING SMALL VENUES

The issues facing small venues are multifaceted. Rising

costs, increased competition from larger events, and

changing audience habits have created a perfect storm

that’s making it difficult for these venues to survive. The

lingering impact of the COVID-19 pandemic has only

made matters worse. Many small venues were forced to

close their doors during lockdowns and, despite reopening,

have struggled to draw crowds back.

Additionally, with the rising cost of living, audiences are

becoming more selective about where they spend their

money. For many, the appeal of paying a premium to see

a big-name artist outweighs the risk of spending on lesser-known

acts in smaller, intimate settings. The result?

Fewer tickets sold, fewer gigs, and, ultimately, venue

closures.

THE CONSEQUENCES OF LOSING GRASSROOTS VENUES

The closure of small music venues isn’t just a loss for the

music industry—it’s a loss for the communities they serve

and the culture they foster. Grassroots venues are more

than just spaces for live music; they’re hubs of creativity,

diversity, and social connection. These spaces allow new,

unsigned artists to find their voice, build a fan base, and

gain the experience they need to take their careers to the

next level.

Without these venues, where will the next generation of

musicians hone their craft? The UK has a rich history of

iconic bands—The Beatles, Oasis, Arctic Monkeys—who

started out playing in small venues before rising to global


fame. If grassroots venues disappear, we risk losing the

next wave of great artists before they even have a chance

to break through.

THE DOMINO EFFECT: BEYOND THE MUSIC

The impact of venue closures extends beyond the music

scene. These spaces contribute to the local economy, providing

jobs, attracting tourism, and supporting surrounding

businesses like bars, restaurants, and shops. The

loss of these venues creates a ripple effect, hurting local

communities that rely on the foot traffic and vibrancy

that live music brings.

Moreover, small venues are crucial for fostering a sense

of community. They bring people together, providing a

space for music lovers to connect and share experiences.

The closure of these venues isn’t just an economic blow;

it’s a social one, eroding the cultural fabric that binds

communities together.

WHAT CAN BE DONE?

To prevent further closures, we need to rethink how

we support grassroots music venues. This could mean

increasing funding and grants for small venues, reducing

licensing fees, or providing tax breaks for businesses that

support live music. Additionally, we as music lovers can

play our part by attending more gigs at smaller venues,

buying tickets in advance, and spreading the word to

encourage others to support grassroots music.

There’s also a need for the music industry as a whole

to shift its focus. While there’s no denying the allure of

stadium tours, more needs to be done to promote the

importance of grassroots music. The industry giants—record

labels, radio stations, streaming platforms—should

use their influence to shine a light on up-and-coming

artists and the venues that support them.

“it’s up to all of us to

support the grassroots

venues”

A CALL TO ACTION

Small venues have always been the heart and soul of the

UK’s music scene. If we want to keep the spirit of live

music alive, it’s up to all of us to support the grassroots

venues that make it possible. Next time you’re deciding

which gig to attend, consider heading to your local venue

to support the bands who are just starting out. After

all, today’s small-time performers could be tomorrow’s

superstars.

Let’s make sure they have the stages they need to grow,

and let’s keep the UK’s music scene as vibrant and diverse

as it’s always been. Together, we can prevent the lights

from going out on the venues that have given us so much.

A FINAL WORD FROM DAVID

MUNDELL, GRASSROOTS

VENUE OWNER

Many small music venues have ceased trading in the last

two years and many more are going to cease trading unless

support is forthcoming. The Music Venue Trust have

galvanised the grass roots industry into action to shame

the large corporations into taking some responsibility

and ultimately give some financial support. The proposed

action is for Stadiums and Arenas to donate £1 from their

incredibly large ticket prices which then goes to a central

fund hopefully governed by the MVT. All venues are different

and it won’t be easy distributing this fund.

I hope the industry finds a solution voluntarily otherwise

it will be left to the Government to introduce legislation

to ensure that they do.

Here in Kinross it’s difficult to host a young and upcoming

Artist, as Rock N Roll is expensive! I try to ensure a young

Band returns on a regular basis so we hopefully have an

opportunity to build an audience. That can become very

frustrating as you will lose money and hope you can receive

a pay off show to recompense all the past times you

did lose money.

People love supporting Tribute Bands and established

Artists but are less keen to come along and support new

music.

Support your local music venue wherever you are. If you

don’t you will lose it. It’s as simple as that.


ICONIC BLUES CLUBS

A BRIEF HISTORY OF SOME OF THE MOST IMPORTANT VENUES IN BLUES

Over a hundred years ago, Juke-Joints were the only

place one could go and see local Blues artists performing

on any given weekend. This was usually on a Saturday

evening after everyone had finished work on such places

as Dockery Farm, or other similar plantations. Sunday,

was a day of worship, even though the Juke-Joints were

often referred to as the home of the devil’s music, which

had been loudly applauded only a day before.

As the years rolled by, one by one the legendary Juke-

Joints closed their doors for the last time, people were no

longer in slavery, no longer the property of plantations

as work in the big industrial cities began to prosper. The

likes of Muddy Waters and Charlie Musselwhite had

headed to Chicago bringing with them the Blues from

Clarksdale and Memphis, to name just two.

As the Electric Blues became more popular more and

more Blues artists made their way to Chicago and many

other cities in the North. They joined the Blues people of

Chicago who needed places to play, at first on the North

Side of the city. As the clubs began to become more popular,

this attracted more artists, until Chicago really was

the home of The Blues.

Two clubs, in particular, stood out, both have seen the

greatest Blues artists visiting and performing, and both

have had famous recordings from within their walls.

THE CHECKERBOARD LOUNGE

8531 SOUTH CRANDON AVENUE-CHICAGO

This club was owned by Buddy Guy and L. C. Thurman

and first opened its doors in 1972. Over the years The

Checkerboard Loung has been host to some of the biggest

names in Blues, Muddy Waters, Eric Clapton, Chuck

Berry, and on one special night, The Rolling Stones. In

1981, The Checkerboard Lounge had Muddy Waters

and his band appearing with a couple of guests, Buddy

Guy joined in, and then in walked The Rolling Stones who

were in town to perform at a large arena gig the night

after. As Muddy Was playing, the Stones trundled in and

settled at a table at the front of the club. What followed

has gone down in Blues folklore.

Muddy invited Mick Jagger onto the stage to join him on

the song, Baby Please Don’t Go, soon to be followed by

Keth, Ronnie, and Ian Stewart. They proceeded to play a

whole raft of Blues classics that thankfully was recorded

for prosperity, and is available on vinyl and DVD. They

were joined by Buddy Guy, members of his band, and an

assortment of others including, Junior Wells. Sadly, the

club did not continue to prosper, Buddy Guy left, and the

club finally closed its doors in 2015 following the death of

L. C. Thurman. But, its legacy will live forever, and not just

because of that one special night.


BUDDY GUY’S LEGENDS CLUB

700 SOUTH WABASH AVENUE, CHICAGO

The original Buddy Guys was situated at 754 South

Wabash Avenue near Michigan Avenue but has been at

its present location since 1989. Legends Club, not unlike

the Checkerboard Lounge, has been at the heart of the

Blues scene in Chicago attracting thousands upon thousands

of visitors every year from all over the world. It

serves delicious Southern and Cajun food and also serves

a beer by the name of, Buddy Brew.

Even though Buddy is well into his 80s, he still performs

a month’s worth of gigs at Legends every January. I have

been lucky enough to have visited both locations of Legends,

the last time in 2017 at the start of our Routre 66

trip, where we had the pleasure of seeing, Fruitland Jackson,

and John Nemeth. For me, a Blues enthusiast, It was

like walking into a cathedral, a cathedral of Blues, seeing

photos of some of the many artists that have appeared

there over the years.

The Club is basically part of a promise that Buddy Guy

made to Muddy Waters in 1983, just before Muddy

passed away, Muddy made Buddy promise that he would

help to keep the Blues alive, “ Legends is part of that

promise” said Buddy. Two live recordings have come out

of Legends, Live At Buddy ’s-Junior Wells, and Buddy Guy

and Junior Wells, Last Time Around-Live At Legends. I’m

honoured to say that I have a copy of both on vinyl.

GROUND ZERO BLUES CLUB

387-DELTA AVENUE, CLARKSDALE, Ms-38614 USA

Ground Zero Blues Club is Co-Owned by, Morgan Freeman,

Howard Stovall, Eric Meier, and Bill Luckett. It first

opened its doors in 2001, but this is not the reason for

the name, after the attacks in New York that same year.

It is because Clarksdale itself has always been referred

to as “ Ground Zero” It has been replicated to represent

the original style with which the earlier Juke-Joints had

been built. It boasts seven upstairs apartments that are

available to rent and is situated close to The Delta Blues

Museum.

The list of artists that have graced its stage read like

a veritable who’s who, Christone “Kingfish” Ingrams,

Bobby Rush, Kat Riggins, Robert Plant, John Nemeth,

Pinetop Perkins, Chuck Berry, Watermelon Slim, and our

very own, Emma Wilson. This venue has long been on my

bucket list, even though I’ve not yet visited this place, I

feel a calling towards it, it is something in the soil calling

me, almost calling me to my spiritual home. Maybe I’ll

catch you there soon.

HOUSE OF BLUES- MUSIC AND FOOD

LIVE CONCERT HALLS

The House Of Blues is an American chain of live concert

halls and restaurants founded by Issac Tigrett, the

co-founder of the Hard Rock Café, and Dan Akroyd, Co-

Star of The Blues Brothers Films, and Blues enthusiast.

The very first one opened in Cambridge, Massachusetts,

on Thanksgiving Day, 1992. Since then, another eleven

locations have opened all across North America, Chicago,

Los Angeles, New Orleans, Myrtle Beach, Orlando, Las

Vegas, San Diego, Dallas, Ft. Worth, Houston, and Boston.

All of The House Of Blues sights cater for the same

things, great live Blues shows, conventions, and fantastic

original cooking. Some may say that it has become more

like the Hard Rock Café, a Multi-National conglomerate

style, but The House Of Blues is nothing like that, it

is built on the traditions of Blues music, and the Blues

legacy is at the heart of the operation. That is why it is so

successful.

THE 100 CLUB

OXFORD STREET-LONDON

The 100 Club first opened its doors in 1942 and was a

Jazz Club, originally named, The Feldman Swing Club. It

changed its name in 1964 when the father of the current

owner took it over. During what was called the swinging

sixties, London was the hub for Blues and Jazz music

attracting punters and artists from across the globe.

When it was a Jazz club it attracted luminaries such as

Benny Goodman, Cleo Laine, Johnny Dankworth, and Ray

Ellington.

As the years wore on, musical tastes changed, and not

always for the better. Many rock bands, who had started

as Blues bands were able to perform at much larger and

much better-paying establishments. During the 70s,

many punk bnads got their breaks playing on the legendary

stage, The Buzzcocks, The Jam, Sex Pistols, The Clash,

so this iconic venue right in the heart of London has probably

helped more genres of music than anywhere else.

Over the last few years, more and more Blues bands have

returned to the 100 Club, along with up and coming Jazz

bands. One special night in 1986 sticks out, The Rolling

Stones performed an impromptu gig at The 100 Club

in tribute to their former keyboard player and founder

member, Ian Stewart. Not only that, but the Rolling Stone

swere joined by legendary Blue sartists, Eric Clapton and

Jeff Beck for a night of Boogie Woogie nostalgia. If ever a

small club deserves recognition for introducing so many

artists to the world of Jazz and Blues, then surely, The

100 Club does’


THE NEAL BROTHERS BRING

BLUES HISTORY TO LIFE

+ Laura Carbone

The authentic Club Ebony, one of the South’s most significant

African American nightclubs, is back and making

history once again. Located in Indianola, Mississippi, just

around the corner from the B.B. King Museum and the

final resting place of the legendary musician himself, visiting

Club Ebony feels like stepping back to 1948 in search

of the largest and finest nightclub around.

Built after World War II by John Jones, Club Ebony became

the premier black nightclub in a region surrounded

by cotton plantations, where music served as a sense of

community and a safe place to let off steam. Over the

years, ownership changed hands, but the club maintained

its tradition of booking top acts from the chitlin circuit.

Legendary performers such as Louis Jordan, James

Brown, Ike Turner, Howlin’ Wolf, Ray Charles, Clarence

Carter, Bobby Rush, and many others graced its stage for

decades.

B.B. King, born and raised in Indianola, played there in

the 1950s, where he fell in love with his future wife, the

daughter of the club’s owner. In 1980 through 2008, as a

world-famous blues musician, he would return back to his

hometown of Indianola for an annual homecoming held

in his honor, culminating in a nighttime performance at

Club Ebony. He was so enamored with this club that he

purchased the club to preserve these memories and it’s

cultural history. After his death, it is now owned by the

B.B. King Museum and Delta Interpretive Center. It has

just completed a significant renovation to bring the club

back to full operation while keeping the historic feel. The

mint green exterior walls with its large and welcoming

sign have not changed nor the red neon sign that beckons

one to enter its doors. Inside, it is large and designed to

host the big bands of the past as you step back into musical

time. The ceiling has stamped tin tiles, archival photos

hang on the walls; and behind the stage hangs the iconic

Club Ebony logo.

The Neal Family is a deeply rooted, multi-generational

blues family from Baton Rouge, Louisiana. Raised by their

musical father, Rayful Neal, ten children were born into

this blues legacy. As young brothers in the early 1980s,

they toured Toronto as the Neal Brothers Band. During

their performances, they often shared the stage with

great artists like John Lee Hooker, Big Mama Thornton,

and Buddy Guy, delivering unforgettable shows that blew

the roof off the venues.

Now forty years later they are together again as brothers

and fellow musicians for a live recording that features

all the brothers. The album “Neal Brothers Live at Club

Ebony” was recorded in October 2025 with the B.B. King

Museum and the BB King Recording Studio, Mississippi


Valley State University.

The Neal Brothers consist of six talented musicians, each

of whom has the opportunity to shine or take a solo on

this recording. The eldest brother, Kenny Neal, is a threetime

Grammy-nominated artist and a recipient of multiple

Blues Music Awards. Kenny would frequently sit in

with B.B. King when he was at Club Ebony and B. B. gifted

Kenny one of his rare original 345 Gibson Lucille’s. Ray

Neal has performed with legends such as Little Milton

and Bobby “Blue” Bland and is a successful independent

blues artist. Frederick Neal is a superb keyboard player,

singer, and jokester, while Darnell Neal holds down the

bottom with the bass; both frequently tour with Kenny

as his primary musician. However, on this recording,

each of them has contributed songs where they lead the

band. Like their father, Larry Neal is a notable harmonica

master, and Gralin Hoffman Neal supports his brothers

on drums.

History is being made again with the Neal Brothers coming

together to record a very special album that includes

all the brothers at the notable Club Ebony, as well as

marking the first live recording done at the club in the last

18 years.


BIG COUNTRY

STEPHEN WILSON JR

Adam Kennedy

Tim Cofield

Rising US star Stephen Wilson Jr’s debut album was

released five years to the day of his father’s death. Subsequently,

søn of dad is a 22-song tribute to Stephen Wilson

Sr. that has garnered widespread critical acclaim from the

media and fans alike.

Perhaps you saw Stephen Wilson Jr on his recent UK

tour, or even earlier this year as support to fellow countrymen

The Cadillac Three. “Those are some dear friends

of mine. We’ve known each other in the Nashville circuit

for quite some time. I would say that we kind of came up

together in a lot of ways and in our respective indie rock

bands,” said Stephen.

Stephen Wilson Jr recently performed on Later with

Jools Holland. Appearing on the show was somewhat of

a bucket list experience for the genre-defying artist. “I’m

a big fan of the show myself. I’m a big fan of a lot of the

music that comes out of the UK. So, I’ve been watching

that program to discover new bands myself, even though

it’s been a little bit harder to find that program over here,”

he says. “It was a real dream. It’s actually like a dream

that I didn’t even have the capacity to dream at the time,

because honestly, I never saw myself as an artist. I was

always like a guitar player, side guy, songwriter, and

behind-the-scenes fella. And so, yeah, I always dreamed

of playing on Jools Holland. I never thought it’d be my

name on there. I thought it’d be maybe some band I was in

or something like that. So, it was wild to see my name, my

dad’s name, be announced on Later with Jools Holland.

It was a very surreal moment, honestly.” He adds: “It was

probably one of the biggest highlights of my career that

I’ve had. I haven’t had the longest artist career. I’ve only

been kicking for a couple of years now. But man, it’s going

to be really hard to top that one.”

Stephen Wilson Jr’s 22-track debut album chronicles

the emotions that the artist was going through following

the passing of his father. “My dad died six years ago, and

I said goodbye to him on an iPhone 8. And pretty much I

died when he died, too. Like I was talking about earlier,

that guy who never imagined himself singing on a stage

or never imagined his name being announced on Jools

Holland. That guy died with him. And so here’s this fellow.


So that was kind of the beginning of the genesis, really,”

explains Stephen. “It was like, a death to self and perhaps

a birth to a new one because my whole identity was

wrapped around my dad, Stephen Wilson Jr. My name is

his name, very much an interlinked relationship. And so,

it left me a bit lost because the word lost is sometimes a

great place to be when you’re looking for something.”

Before his musical career, life was very different for Stephen

Wilson Jr. “I used to be a scientist in my former life.

And so, in the weirdest way, I put my lab coat back on and

my emotional lab coat. And I just started trying to keep a

record of what I was going through. I feel like that’s what

scientists do most of their day is keep records. They just

keep track of things. They keep records. And then you

sort your records and your data into hopefully something

compelling. But so, I just kept a record of everything I

was going through,” he says. “I love that we call albums

records. And I love that because that’s more of what it

is. It’s a record, not a music record, but literally a record-keeping

exercise. So, søn of dad is just me, literally a

lost fella from literally minute one of his death. We pretty

much spent four years making the record. So, it was a

four-year process of me going through from the instant

grief to maybe figuring out how to find some closure.”

The album features an astonishing 22 songs chronicling

Stephen Wilson Jr’s journey through grief. Once he

started writing, did he feel as though he tapped into a

creative vein so to speak. “Yeah, that was more what was

happening. I was just trying to do my job, not so much

make a record if that makes sense. And the job at the time

was just to try to harvest these songs that were showing

up at the time,” he says. “And so, 21 songs didn’t feel like

enough and 23 felt like too much. And I don’t know why

22. But I just kept writing songs until something said,

stop. OK, you’re done now. And that’s where we stopped.

And I don’t know why 22. There was a lot to talk about, I

guess.”

The artist’s sound transcends genres spanning country,

grunge and indie rock. In his own way, he calls it ‘Death

Cab for Country’. “I didn’t really get into this to be in a

particular genre. I’m kind of living within an anomaly.

And it’s all kind of a bit of a mistake in a weird way. So,

it doesn’t surprise me that the genres are kind of blended

- that part is a little bit perhaps out of the norm,” he

says. “So the genre stuff is not something I think about. I

think of myself as a country songwriter. That’s what I do.

I write country songs. Whether I sing country music or

play country music, I’ll let you decide that. Whether I play

rock and roll music or Americana or indie or whatever it

is or grunge, I’ll let you all decide that. But at the moment,

I write country songs. And that’s where they kind of start

with the country. I’m a country songwriter. And whether

I’m anything else from there, I don’t really know. But

yeah, there’s a lot of indie elements. I jokingly call it Death

Cab for Country. It kind of sums it up in the weirdest,

best, quickest way possible.”

Stephen elaborates further: “When I started writing my

own stuff, I wanted to write more Guy Clark-esque, really

deep country songs. But when I start picking up a guitar

and singing them, they sound closer to Soundgarden for

some reason. I don’t know why they just do. I’m not trying

to make them sound that way, but in my head, they’re

country songs. They just come out sounding a little bit

more like Superunknown.”

“lost is sometimes

a great

place to be when

you’re looking for

something.”

The artist is not afraid to call upon his grunge influences

for inspiration. “Soundgarden taught me how to play

guitar. I mean, almost literally, my whole guitar style

is Soundgarden,” he says. “When I first started playing

guitar, my friend gave me this tab book. It was Superunknown,

the whole album,” he recalls. “And he gave it to

me. And I learned every song on that record. I’d only been

playing guitar for six months. That’s where I learned how

to do all the weird open tunings. I didn’t know you could

tune your guitar differently until Soundgarden. And I

learned that early on.”

He adds: “And then obviously other bands had a big

influence on me. Nirvana, Sonic Youth, and Weezer were

a big influence, at that time. And then Death Cab and the

Postal Service. How grunge kind of merged into indie

music. Grunge kind of split off into nu-metal and then indie.

And I wasn’t going down the nu-metal path. After the

post-grunge thing, that was honestly really compelling to

me. So, all the indie stuff was kind of really when I started

making music - that’s the world I started making it in. But

I had listened to a lot of grunge music, obviously, up until

that point.”

Stephen Wilson Jr recently returned to the UK on his first

headline tour of our British Isles. The UK has a special

place in the artist’s heart. “The first tour I ever went on

was in the UK right out of COVID - the first tour for me

as an artist. Brothers Osborne brought me over there

in 2022, right when things opened back up, like literally

right in the beginning. So, my artist career sort of started

in the UK,” he concludes.

The debut album from Stephen Wilson Jr, søn of dad, is

out now. For further information, please visit

www.stephenwilsonjr.com


NEIL

SADLER

A BRIGHT FUTURE BECKONS

STEVE YOURGLIVCH SUPPLIED

Neil Sadler might not be a household name, but his wealth of experience and talent are

undeniable. With his partner Karen providing much of the impetus, the future is looking

very bright indeed. His recent Past To Present album saw him reach the top spot in the

IBBA charts, and his diary for 2025 is already starting to bulge. Without doubt, more

blues followers will soon have him on their radar.

Neil has certainly paid his blues dues. He’s been

playing in bands since the early 80s, running his

own successful studio, No Machine Studios in

Wokingham, and gaining invaluable experience

as a producer, sound engineer, songwriter, and

collaborator. Add to this his triumphs over significant

health challenges, and it’s clear Neil has

lived the blues.

A Retrospective Journey

The album title, Past To Present, offers a clue to

its theme — a retrospective look at Neil’s career.

However, it’s not a tired compilation. These are

spanking new recordings.

“Some new material and some old,” Neil says.

“Everything is replayed, re-jigged if you like,

to reflect the way I’m playing guitar now, so it

sounds very contemporary. I play everything on

the album.

“Throughout my career, I’ve amassed a huge

amount of back catalogue — some recorded and

released, some not. Running No Machine Studios

for 30 years helped me hone my skills. I’ve

learned to play resonator and acoustic guitar,

bass, electric guitar, keyboards, and even drums.

I’m not the best drummer, but I can hold a beat.

“When lockdown came along, it was an opportunity

to shut down the rehearsal side of No

Machine, which had become a drain. I’d be there

until midnight, waiting for bands to pack up. The

lease was up for renewal, and I was tired and

drained. It felt like the right time to re-focus and

move on.

“I’ve accumulated stacks of music I’ve recorded.

I spent so much time tweaking and re-recording

things. I’ve still got loads to go back and listen

to. I’ve got a set of Robert Johnson songs that

I’ll probably release, as well as some covers I’ve

worked on for other people.”

Chart Success and

Future Plans

Past To Present received widespread radio play,

peaking at number one in the IBBA charts and

staying there for several months. I asked Neil

how he plans to follow this success.

“Most likely the Robert Johnson covers,” Neil

reveals. “Obviously, they won’t be played exactly

as he did. I’ve spent ages listening to his recordings,

trying to get inside how he played and what

he was feeling.

“I’ve recorded a lot of variations — some left

as they were, others with added keyboards



Kev Langman on bass,” Neil says. “We play all the tracks

from the album and have even tried adding a keyboard

player. Live, it’s going really well. We get repeat bookings

and pick up new gigs on the back of shows.

“Next year, we’re moving further afield, out of Devon.

We’ve got festivals booked, and we’re heading as far as

Yorkshire. We’ve got about three hours’ worth of material,

so we keep it fresh and vibrant.

or drums. There’s probably 14 or 15 tracks so far, but I

want to work on more. I’m mindful that some of the lyrics

aren’t politically correct these days, so I need to decide

whether to keep those or leave them out.”

I reminded Neil that he recorded an album of Robert

Johnson songs in 2022 with the band Blue Touch.

“Yes, the lockdown material I worked on formed the foundation

for that,” Neil explains. “The stuff I’m doing now is

different. We tried to promote it live, but I don’t think the

band was as into it as I was.”

Early Days: Sleeping Lions

Looking back, Neil recalls his first serious band, Sleeping

Lions.

“That was right back in the 80s,” he says. “I’d always been

in local bands, playing lots of gigs in London, but nothing

came of it. Eventually, I joined my brother’s band, Sleeping

Lions. We got signed by CBS Records and released a

couple of albums and some singles. It was amazing being

thrust into top-class recording studios, which is where

I picked up a lot of my recording skills just by watching

people.

“One of the things I had to do was play bass because my

brother was the lead guitarist. After we were dropped by

the label, I became disillusioned with the music business

and went back to playing with old friends. Out of that, the

UK Blues Project emerged. We were together for about

ten years and recorded a couple of albums. There’s a

track, No Rush, from that period on Past To Present, but I

re-recorded the guitar part.”

A Live Band and a Loyal Following

Although Neil records most of his material himself,

he also has a live band that’s steadily building a loyal

following.

“Our band is a three-piece with Ray Barwell on drums and

“When I recorded Past To Present, I was in a reflective

state of mind. I was going through cancer treatment and

didn’t know if I’d make it. Songs like I Ain’t Gonna Cross

That River reflect that period, as does No Love Left, No

More. But it’s not a sad album. It’s upbeat, foot-stomping.

At Swanage recently, everyone was on their feet.

“We often get young guitarists at shows who like to chat

afterwards. In January, we’ve got a slot with Boogaloo

Promotions at Church Crookham near Fleet.”

Collaborations with

Blues Legends

Many Blues Matters readers may recognise Neil from his

collaborations with Dennis Siggery.

“We worked together for about 15 years,” Neil recalls.

“The most recent project was Justified in 2023. It was

tough to put together a live band to play it. Dennis has

since put together a new version of the Eric Street Band

"It's upbeat, footstomping,

and full

of life"

and released a new album. Having moved to Devon, it just

wasn’t viable for us to keep working together.”

Neil also spent significant time with Larry Miller.

“Larry was a regular at No Machine Studios, and I played

live with him in Ireland and France. Since his stroke, he’s

unable to perform live, but we include a little tribute

section to him in our shows. Larry was one of those people

who encouraged me to form my own band. He’s very

much missed.”

Discover More

To find out more about Neil Sadler’s music and history, or

to keep up to date with his gigs, visit neil-sadler.com.


EXPLORE


PURE PRAIRIE LEAGUE

There are, broadly speaking, genre defining bands and then there are ‘the’ genre defining

bands. Synonymous with the classic country-rock movement that fully emerged as a music

classification in the early seventies, the Pure Prairie League undoubtedly continues to

be one of the genre defining bands.

Paul Davies

Supplied

However, most folk term country-rock as Americana

these days, and that’s absolutely fine given the ever

evolving nature of any musical movement shaped by a

group’s maturing sound and shape shifting line up as superlatively

demonstrated by the current iteration of the

Pure Prairie League.

Named after the temperance union featured in the 1939

Errol Flynn cowboy movie, Dodge City, remaining band

old timers, David John Call and Michael Reilly, continue

to dodge Father Time by keeping themselves productively

busy as long term bassist now producer of current

PPL’s Back On Track album, Michael Reilly, intrigued by

my surname, also reveals a very interesting side project

to me: “I gotta ask you a question,” he asserts, “are you

any relation to Rick Davies? I’m going to see him later

today and I’ll ask him about his relatives.” Michael adds,

“We’ve got this little combo together called Ricky And

The Rockets. It’s us and three guys who live out here on

Long Island.” I enquire if he is talking about Supertramp’s

Rick Davies? “Yes, he’s turned eighty and we’re still out

there. We played a gig a month or so ago and it was killer.


People flew in from all over the world.” He continues: “We

do about eight or nine Supertramp songs that Rick wrote,

you know, Bloody Well Right, Goodbye Stranger... And a

whole bunch of those things that Rick wrote. Then we do

a bunch of old R&B and jazz, Art Blakey, Mo Allison and

Chuck Berry.” Michael clearly relishes this project with

the other half of Supertramp’s songwriting duo: “I’m more

of a fan of Rick’s songs simply because they’re a little bit

more genuine. Roger’s songs were very good, but he was

most definitely the pop guy. Rick is more, not to use an

improper comparison, the John Lennon guy of the duo

and Roger was definitely more the McCartney pop guy.”

Sadly, I have let him down by doubting my relativity to

Rick, as far as I know...

Anyway, we get back on track to discuss the upcoming

new release of the same name. But first another country-rock

& roll story floats into Michael’s mind: “I knew

the guys in Pure Prairie League because they were from

the same town as me, Cincinnati, Ohio, and I was at one

of their first gigs in 1970. I was playing in a different band

called The Lemon Pipers at the time, and I was standing

in front of the stage watching these guys play, and I loved

Craig’s (Fuller) voice, and I loved John Call’s approach to

the pedal steel, because it was like a rock approach to a

country instrument. And I said to myself, ‘man, I love this

stuff. I’d like to be in this band one of these days.” And

lo and behold his wish came true as he furthers: “Fast

forward to 1972 and Mike Connor, the piano player, and I

had been living in England for a year, and we had a country

blues band called The Lee Riders and we did some

touring with Bowie on the Ziggy Stardust tour.” As I’m

taking in this piece of rock history information,

Mike continues: “So, when we came back in May ‘72, the

Pure Prairie League was getting ready to go in the studio

in Toronto to record the Busting Out album. And that’s

when they called me and Mike Connor and said we want

to put a band together, not just a couple songwriters

and stuff. We joined the band at that time.” Having had a

moment or three to digest the Ziggy meets country-rock

info, I press Mike further on this: “Bowie hated our guts,”


he asserts with a wry chuckle. “He did an interview in the

Melody Maker, I think it was, and called us some ‘fucked

country band’. So, I had T shirts made up, of course, down

in Kensington that said, ‘some fucked country band’. We

were friends with Mike Garson and Mick Ronson and

they enjoyed it. They liked the band. We were nice guys,

easy to get along with, but Bowie was into his Ziggy

phase. Him and Angie dressed alike and looked alike and

wore the same make-up.” He pauses for thought: “This

was ‘72 and we had the same booking agency and they

put us on these gigs with Bowie, much to his chagrin, I’m

sure, but we had fun with it.” I ask if he witnessed the final

Ziggy farewell concert at the Hammersmith Odeon: “We

did not. There was a little fracas at a gig because they

wouldn’t let us use the lights or the sound system. We

“Why don’t we just

do a record? It’s

been a long time!

had to use our little Shure vocal master PA as a sound

system like it was a rehearsal room...the guitar player got

a little drunk and chucked a whiskey glass down at the

stage, and it hit the lights and showered glass all over.”

He finally adds: “Well, the problem was that Angela was

sitting three rows behind us in the balcony and saw our

guitar player chuck the glass. That was the end of The Lee

Riders tour with Bowie.”

As we haul this highly entertaining chat back on track,

Mike further reminisces about the integral importance

of Craig Fuller to the success of the band: “Craig’s a great

singer and a fairly good songwriter, but he always had

the idea that he was going to be a star. He didn’t really

want to be in a band, but he knew he needed a band at the

time... later when he joined Little Feat in the 80s, Craig

had played with Eric Kaz, and they were the opening act

for Little Feat for a year or two. John Call was playing in

that band as well. It was sort of a natural fit that Craig

kind of stepped into Lowell’s shoes and I think he did a

great job with it.” He ponders awhile: “I prefer Craig’s

voice from the early days of Pure Prairie League, as opposed

to being Lowell, if you know what I’m saying, but he

did a great job with it, and the songs he wrote fit the band

perfectly. It’s my opinion, but I thought he was a little out

of place there, but he did a great job!”

Before we eventually get to Back On Track, Mike tells me

all about Vince Gill’s connection with the band: “When

people hear him play guitar, all of a sudden he’s playing

like Larry Carlton. This kid from Oklahoma. It was a

great thing to have him in the band.” Mike continues: “He

played in a bluegrass band called Mountain Smoke, in

Oklahoma City, and they were opening up a show for us

at the Civic Centre in 1976, I think. And boy, we were just

taken with his voice and his picking style, so we asked him

if he would like to come up and sit in on our set. He played

three or four songs with us, and I said, ‘Hey, you want to

play rock and roll? You want to join the band’? He says,

‘No, man. I’m a bluegrasser’. But two years later, we were

auditioning guitar players, singer-songwriters, and we

were looking for a new guitar player. Vince showed up at

S.I.R. Studios in Los Angeles with a friend of his that wanted

to audition. His friend didn’t cut the mustard... but I

said, ‘Hey, look, the auditions are done, it’s eight o’clock,

you want to grab a guitar from downstairs and jam for a

while’? He says, ‘I’ve got my guitar in the car’. We played

for four hours until midnight and then I offered him the

gig again and this time he said, ‘Yeah, I do’. So off we went

for three albums and three and a half years later...”

With a couple of all time classic country-rock staples in

their knapsack, Amie and Two Lane Highway, the band’s

fortunes took off in the 70s: “When Busting Out came

out, and Amie was on that record, in ‘72; it didn’t get

much traction. Then Craig left the band in ‘73 due to

the draft situation. So, we hit the road in ‘73 with Larry

Goshorn and we were doing 250 college shows a year

for about eight to ten years. We just crammed Amie

down their throats. Every college student with a beat-up

acoustic guitar found it very easy to learn the chords for

Amie. There was a lot of coffee house kind of stuff going

on back in the 70s in the colleges, and a lot of humping to

that song,” Mike exclaims with a cheeky glint in his eye.

“With Two Lane Highway, we were down at Ardent

Studios, Memphis in 73 where we were going to record a

Tom Waits song called Old 55; we had kind of made it up

tempo.” He adds: “Well, the Eagles wound up recording

that later as a ballad. But we made it up tempo, and then

Larry says, ‘Man, I can write a song as good as that’. And

here comes Two Lane Highway and we recorded that

down there in ‘73 and when it finally got onto an album in

‘75 when RCA re-signed the band.”

Finally, we have turned out of an engaging detour and hit

the home straight where Mike tells me about the new album,

Back On Track, and this venerable group’s eleventh


studio record: “I’ve retired from touring with the band,

now I just manage the band and I produced the new album.

I hired a new bass and guitar player. That was about

three years ago. It’s sort of like I’ve passed the torch and

let the new young guys have a go at it. However, I’m still

the boss.” This easy natured approach has paid dividends:

“I hired them because number one: they were fans of

the band. Number two: they were friends of some of the

other guys in the band. Then they came up with the idea

“why don’t we do an EP’? Because Pure Prairie League

hasn’t had an album out for twenty years.” Mike says:

“Once they submitted some songs, I went, ‘well, what the

hell’. Why don’t we just do a record? It’s been a long time...

let’s do an album.” He explains: “I had a few songs that I

wanted to bring in and Jeff Zona, the guitar player wrote

five songs on the record, and Jared, the bass player, wrote

three and I contributed four.” Mike takes stock for a moment

before adding: “I’ll never deny Pure Prairie League’s

history and legacy. I wanted to continue and expand on it.

To show people that after five and a half decades, we may

be long in the tooth, but we’re certainly not creatively

dead.” Most definitely not as he details the recording process

of how Back On Track came together: “We started it

in July of ‘23 and finished it up in July of ‘24. We worked

about a week a month. I would fly down to Nashville, and

we’d get together in the studio and cut some tracks. We

started with the basics, then started doing overdubs and

then vocals and I had a few guests appear on the record.

It seemed to work out well.”

I enquire as to whether Craig Fuller has heard and given

this project his blessing? “He basically retired from

touring in 2014. He doesn’t play much and he’s not too

active. He does a few songwriter conventions. He’s just

enjoying where he lives, which is on a golf course in North

Carolina. He’s now a grandfather and he’s putting his time

in there.” Mike reveals: “ But you know what, I sent him a

copy of the Little Feat song Six Feet Of Snow we recorded

for this, and he went, ‘man, it sounds great. I love it. I

can’t wait for the record’. Craig’s a dear old friend and he

supports the fact that we’ve kept it all going throughout

these years.”

Another dear old friend also makes a return to Back

On Track as Sad Luke appears once more as the cover

illustration as further proof that this rejuvenated country-rock

institution is blending the old with the new

and keeping it real as they’re back on track where they

belong.

EXPLORE


SUPER SONIC

AN INTERVIEW WITH ROGER EARL FROM FOGHAT

With a career spanning more than 50 years, Foghat recently witnessed

their first #1 album when their latest release, Sonic Mojo,

topped the Billboard Blues Chart. A testament to the group’s staying

power after all these years.

+ Adam Kennedy

Although there have been lineup changes along the way,

Foghat drummer Roger Earl is celebrating 53 years in

the band. But how is the artist feeling about reaching

this milestone in his career? “Be careful what you f*cking

wish for,” he laughs. “Ever since I was growing up, there

was always music in our household. My father played the

piano. That wasn’t his day job, but in fact, he took me to

see Jerry Lee Lewis when I was 12 with my best friend

and a few other people at the time. I was never the same

after that.”

He continues: “I got Chuck Berry records. I went to see

the Stones when I was 16 or 17 at Eel Pie Island and The

Marquee. And it’s all I ever wanted to do. I was a commercial

artist. Because the drums and cymbals were expensive,

so I had to have a day job, but all I wanted to do was

play in a band. I was never going to be Buddy Rich. There

are only a few of them in this world that have ever came

close to that. But I always loved playing in bands. Rock

and roll, that was my first, and then the blues. And I always

wanted to come to the States, and I got that chance


when I was 21/22 when I was in Savoy Brown.”

Being a professional musician is all he has ever wanted.

“The thing is, I didn’t want to have another job. This is

what I do. This is what I wanted to do. Ever since I was

a kid I’ve been in a band,” he says. “We’ve had some ups

and downs. Of course, especially losing Lonesome Dave

and Rob Price, that was tough. And also, Craig MacGregor,

our bass player. We were really tight. We were good

friends. We were brothers. That’s part’s been tough. And

there were times when I wondered what I was going to do

or carry on. But then I would meet somebody, or somebody

would say, come on, Roger, get off the couch and go

do something.” He adds: “Sonic Mojo, sums up what this

band’s all about. It’s a blues rock band. I listened to this

music when I was a kid. It’s still there.”

Sonic Mojo also features the last songs ever written by

former bandmate, and long-time friend of the band Kim

Simmonds of Savoy Brown. “After our last previous studio

album, Under the Influence, I invited Kim down to play

on it, which he did. We were finishing up in Nashville, and

our producer was Tom Hambridge. Kim played on three

or four songs. And then when we were finishing … Kim

came up to me and said - look, I’d really like to write some

songs for Foghat. I said, well, that’d be great, so long as

you play on them. And he had a wry smile,” recalls Roger.

“Unfortunately, Kim didn’t. He got ill, but he sent me four

songs with him playing to a drum track, just playing, guitar

and singing. And we took them and ran with it.”

Roger adds: “The sad part was, I think I talked to Kim a

couple of months before he passed. He was in hospital

for a long time, and they wouldn’t let you call there or

go there. But with Kim, it was sort of like we did a whole

circle, with Kim coming back and writing some songs.”

The Foghat drummer has nothing but kind words for

the Savoy Brown legend. “Kim, he was a beautiful man, a

great guitar player and a fantastic writer,” he says. “I love

Kim Simmonds. I love him a lot.”

Sonic Mojo features several covers from some of the

greats of the blues genre. When asked about the blues,

Roger proudly shows me his t-shirt emblazoned with the

phrase, Born in Muddy Waters. “Lonesome Dave said

something one time, and it stayed with me. I think the

reason that we have a passion for blues and American

music is because it has an honesty about it,” proclaims

Roger. “And I thought Dave hit it on the head with that

one. It feels real, even though I wasn’t born in Mississippi,

and I didn’t travel to Chicago until I was 23, there’s

an honesty about the music, and I just gravitated to it.”

He continues: “When I first came here, it felt like I was

coming home, even though they speak a little funny - just

kidding. It felt right. And I got to play with my heroes. I

played with Muddy Waters and John Lee Hooker in the

band. It was just magic.”

Foghat aside, in his early days as a musician, Roger Earl

had the opportunity to audition to play with Jimi Hendrix.

“Chas Chandler called me up at work and said, have

you heard of Jimi Hendrix? He was in all the newspapers

and all the music magazines. I said, yeah. He said, do you

want to come and audition? I said, yeah. It was a weekday

in London, just off Piccadilly Circus. It was a jazz club,”

recalls Roger. “Of course, it was raining, and we were all

standing outside. It was about 12 o’clock or one o’clock,

and we were waiting for the place to open. The cleaners

had just been in there. And Jimi comes up, and he starts

talking to me about some songs that he’d written the

night before. I was just in line, and I was about fourth,

fifth or sixth in line to play. I brought my own drums. My

brother gave me a hand, taking them down the steps, and

Jimi started playing.”

“It’s a land of

music, as far as

I’m concerned”

Performing with the legendary guitarist was a memorable

occasion. “He was very generous with his time. I’m sure I

played for about 40 minutes or so. Obviously, I didn’t get

the job. The drummer he took was absolutely phenomenal,”

explains Roger. “But I did actually jam with him one

night at a club in New York City. I got up and sat in on a

song, and a bunch of people were playing with him. It was

like a jam session. And also, at a club out in LA one time,

and I seem to remember Eric Burdon was singing at the

time, but everybody was getting up, so I got to do that.

I never really hung out with other than the time I auditioned.

He was a beautiful man. He was something else.”

Roger Earl is hoping to bring Foghat back to his homeland

of the UK in 2025. “We’re trying to get over next year in

the spring. Our manager is talking to some people, different

agents over there. I want to go there. We haven’t

played there since just after the record was released. We

did a three-week tour with Captain Beefheart. We had

got a couple of gigs around London and did a couple of

gigs up in Scotland, but that was it,” said Roger. For now,

his home is the United States. “This is my adopted home. I

love living here. I love playing here. It’s a land of music, as

far as I’m concerned,” concludes Roger.

Sonic Mojo, the #1 album from Foghat, is out now. For

further information, please visit foghat.com


BLUESICOLOGY BY DANI WILDE

BLUES WOMEN – THE UNSUNG PIONEERS OF ROCK AND ROLL

Long before Elvis and Chuck Berry, the blues women of

the 1920s, 30s, and 40s laid the groundwork for what

would become rock ‘n’ roll.

TRIXIE SMITH: THE FIRST TO ROCK

A little over 100 years ago, in 1922, 27-year-old Trixie

Smith stepped into a New York recording studio to

record her best-known song, *My Man Rocks Me (With

One Steady Roll)*, released on Black Swan Records. Trixie

sang:

*My daddy rocks me with one steady roll.

There’s no slippin’ when he once takes hold.

I looked at the clock and the clock struck one.

I said, “Now Daddy, ain’t we got fun.”

He kept rockin’ with one steady roll.*

The terms ‘rocking’ and ‘rolling’ had been used before

in religious music, but this was the first time they were

used in a secular context and as a metaphor for sex. The

song, composed by J. Berni Barbour, was a hit for Trixie

Smith over three decades before Bill Haley released

*Rock Around the Clock*. Trixie’s release inspired other

blues songs to use the phrase ‘rock ‘n’ roll,’ such as *Rock

That Thing*, composed and released by blues woman Lil

Johnson in 1929.

Lil Johnson would also record an early blues version of

*Keep a Knockin’*, later a rock ‘n’ roll hit for Little Richard.

Trixie Smith’s *My Man Rocks Me* added momentum to

a movement of blues women who sang freely about sex

and relationships with sass and humour in their ‘hokum’

songs, at a time when women were typically expected to

be at home in the kitchen.

While the song is about relationships on the surface, Trixie’s

1920s blues aligned with the progressive Black politics

of the era. Trixie was signed to Black entrepreneur

Harry Pace’s Black Swan Records, a label that supported

the New Negro Movement and aligned with the politics

of the NAACP.

“News of the completion of the first list of Black Swan records

will be received with great interest and enthusiasm by

our people all over the United States... A great uproar was

caused among white phonograph record companies who

resent the idea of having a race company enter what they

felt was an exclusive field.”*

— Chicago Defender, May 7, 1921


Blending gospel vocals with her upbeat take on blues

guitar, Tharpe created a new playing style. She had been

playing what we now call rock ‘n’ roll guitar since the

1930s, two decades before Chuck Berry and Elvis. As a

boy, Elvis Presley would rush home to hear her on WELO

Radio’s gospel show.

Tharpe was among the first recording artists to use heavy

distortion on her electric guitar, paving the way for electric

blues. Her speed, dexterity, and immense feel created

a style that would influence the rock ‘n’ roll superstars of

the 1950s.

THE LEGACY OF BLUES WOMEN IN ROCK ‘N’ ROLL

Many of the 1950s rock ‘n’ roll hits by white artists were

first recorded by Black rhythm and blues artists. For

example:

Black Swan was the first major Black-owned record

company. It was not only a pioneering business but also

a progressive experiment in Black politics and culture.

Harry Pace, when not running the label, led the Atlanta

arm of the NAACP. Black Swan demonstrates a clear link

between the recordings of blues women like Trixie Smith

and organised Black political activism of the era.

1920s Black protest leader W.E.B. Du Bois stated at the

NAACP’s June 1926 convention:

“All art is propaganda and ever must be... I do not care a

damn for any art that is not propaganda!”

As successful and respected recording artists, Black

Swan’s blues women contributed to this political agenda

in the battle for racial equality.

Trixie Smith and her peers on Black Swan’s roster also

contributed greatly to the Harlem Renaissance, a political

and cultural movement in the 1920s and 30s that celebrated

Black literature, music, art, theatre, dance, and

scholarship, making a powerful statement of Black pride.

Trixie Smith’s contributions to music are underappreciated.

Her groundbreaking work not only influenced

the sound of rock ‘n’ roll but also demonstrated music’s

power in the fight for equality. 1950s rock ‘n’ roll continued

this fight as Black artists like Fats Domino and Chuck

Berry appealed to both Black and white youth, helping to

integrate venues for the first time.

SISTER ROSETTA THARPE:

THE GODMOTHER OF ROCK ‘N’ ROLL

Sister Rosetta Tharpe stands as one of the greatest pioneers

of rock ‘n’ roll. In 1942, *Billboard* magazine journalist

Maurie Orodenker used the term “rock-and-roll” to

describe energetic tracks like *Rock Me* by Tharpe.

- Jerry Lee Lewis’s *Whole Lotta Shakin’ Going On*

(1957) was a 1955 hit for Big Maybelle.

- Elvis’s *Hound Dog* (1956) was originally written for

Big Mama Thornton, whose 1953 version sold between

500,000 and 750,000 copies. Thornton never received

royalties and expressed frustration at this injustice.

When Little Richard sang his trademark “Lucille-aagh”

in 1957, he credited the vocal technique to Ruth Brown,

who had used it in her 1952 track *Mama, He Treats Your

Daughter So Mean*.

Many Black artists felt that rock ‘n’ roll was simply rebranded

rhythm and blues. Fats Domino said in 1957:

“What they call rock ‘n’ roll now is rhythm and blues. I’ve

been playing it for 15 years in New Orleans!”

Little Richard observed the racial double standard of the

era:

“If Elvis had been Black, he wouldn’t have been as big as he

was... If I was white, do you know how huge I’d be?”

Female artists like Ruth Brown and LaVern Baker played

fiery, innovative rhythm and blues in the early 1950s that

represented the birth of rock ‘n’ roll. However, racial discrimination

meant white pop covers of Black R&B songs

often achieved greater success.

LaVern Baker’s frustration with this led her to insure

her life before an international flight, naming Georgia

Gibbs—who outsold her by covering *Tweedle Dee*—as

the beneficiary. Baker wrote to Gibbs:

“You need this more than I do, because if anything happens

to me, you’re out of business.”

Despite systemic barriers, the pioneering contributions

of blues women like LaVern Baker, Ruth Brown, and Big

Mama Thornton laid the foundation for rock ‘n’ roll. Their

legacy, though often undervalued, continues to shape

music today.




Scott Doubt

Canadian blues rocker Steve Hill recently returned with his new album Hanging

on a String. For his latest offering, the artist ventured south of the Canadian

border to record in Los Angeles at the legendary Studio 606. Although

getting the album out into the world was no easy task, there were trials and

tribulations along the way.

Adam Kennedy

As credited

As AC/DC once said, ‘It’s a long way to the top if you

want to rock and roll’. This is a sentiment which the artist

appreciates. “It’s not everybody who is passionate about

music who can make a living out of it in 2024. I still can.

And hopefully, it keeps going like this because I don’t

know what else to do. I’ve never done anything else. I

was a newspaper boy from nine to fifteen. And then at

sixteen, I was playing clubs and I never learned how to do

anything else.”

For his latest offering, Steve Hill ventured to Los Angeles

to record at Dave Grohl’s Studio 606. The opportunity

was catalysed by a connection at the microphone company

Lauten Audio. “At the time they were distributed by

a Montreal company, and they were looking for an artist

to do demos at the NAMM show in L.A. and Sweetwater

in Indiana. And the distributor from Montreal, one of the

guys who worked there, saw a video of myself and he

sent it to Brian [Laudenslager, owner of the Lauten Audio

microphone company]. And Brian was like, oh, yeah, we

want this guy,” recalls Steve.

“I was not the star of those events. The star was Darrell

Thorp, who’s the engineer, mixer and producer of my

record. Darrell does the Foo Fighters albums, he’s done

Beck, he’s done Radiohead, he’s done McCartney. He’s got

ten Grammys. He’s worked with Snoop Dogg and Reba

McEntire. He does any type of music. He’s an incredible

engineer,” said Steve. “And we do these events where I’d

be in a cubicle, basically in a box. And he was on stage

explaining how he mics, and I had cameras on me, but he

was the star of the event. And they were the people of

the industry about the microphones and mic placement.

And they like me because it was just one guy and it’s a

band, and so I was perfect for those events.”

Beyond these showcase events, Steve and Brian remained

in touch. “Almost two years ago, I was on tour in

Western Canada, and I played Calgary, and somebody

filmed me. I posted it back on Facebook and Brian was

at Studio 606 with Darrell and he saw the video and he

called me and he’s like, hey, Steve, it’s been a while, come

and record in L.A. You should come and record at 606,”

recounts Steve. “I’m like, yeah, Brian, that’d be awesome.”

After the tour, Steve’s travels became a bit of an uphill

struggle, if you will excuse the pun. “About a week and a

half later, it’s the end of the tour and I’m sleeping at my

tour manager’s place because I’m leaving the very next

day. And we got to Calgary late. We were in Red Deer doing

a show and then we got there late and I’m sleeping on

an inflatable mat downstairs. And it’s really not comfortable

and I can’t sleep,” said Steve. “And at some point, I’m

dreaming of barbecue, and it smells like barbecue. And

then I opened my eyes, and the basement was filled with

smoke.”

Things started to take a turn for the worse. “The house

is on fire. So, I get up, I wake Nate, we get out of there,

we call the fireman. And then somebody else was picking

me up to bring me to the airport.” Steve’s lucky escape

also created a moment of inspiration. “Every time I finish


Anik Jean



Scott Doubt

a tour, I’m sitting in my seat in the plane, and I take a

photo, and I post a little text and it started with ‘woke

up in a house on fire’.”

Once back home in Montreal, Brian called the artist

to check in on his friend. “I called him back and he’s

like, hey, man, that’s a good line for a song. And I’m

like, yeah, I agree,” recalls Steve. “A week later, he had

arranged the whole thing. He had booked the studio,

booked Darrell and decided to be the producer of the

album. He paid for the recording, and they filmed the

whole thing.”

But being caught up in the house fire wasn’t the only

plot twist on Steve Hill’s creative journey. “I went

there last week of August and my buddy, Johnny

Pilgrim, who I write lyrics with, he lives in L.A. And he

comes to pick me up and my girlfriend at the airport.

And 15 minutes later, we got hit at a stop sign. Somebody

ran on a red light straight into us,” said Steve.

“I got broken ribs, and I was in the studio thirty-six

hours later. So, I did a few days, but it was getting

worse and worse. Every day something else was stuck.

And so, the producers decided to postpone the whole

thing.”

“they were made

to be played live”

Steve Hill was looking for his big break in California

but ended up with broken bones instead. “It took

three months for me to heal, actually a year. But after

three months, I was OK. I got some cortisone shots,

and I was fine to perform, and it gave me more time to

get ready to record,” explains Steve. “I had this drive.

The first time I went there, I saw it as my break. If I

have one break in my life, it’s this one. And everything

depended on it. And because of a stupid accident, I

couldn’t do it.”


It comes more naturally. But then I like songs to have a

few different levels. So, it’s not just about me. The beauty

of music is that somebody can listen to it and think that

the song is about a completely different subject than

what I wrote it about. And that’s fine. That’s how it should

be. But there are a few songs in there where they’re more

personal, like Show Ya.”

Once on the mend, Steve resumed recording. “There

was no way that I would mess it up the second time. So,

I got in there and I was so focused. I’ve never been that

focused in my entire life,” said Steve. “And I had six days

to record the album, and I did it in five. We would do two

songs a day and it’s all first, second or third takes. And I’m

very proud of it.”

In the studio, the creative juices were flowing. “There

are eight songs on the album. Of course, when you do an

album, you write more stuff than what you have on the

album,” confirms Steve. “I had another song which was

really good, which will come out later, but it just didn’t fit.

And these eight songs together felt like a concept album

at the same time. They were meant to be together.”

Hanging on a String wasn’t intended to be a concept

album per se, but when you put them all together, it feels

like a concept album, set in a dystopian world where music

is the only salvation. “Once the album was done, and

I had all these songs in that particular order, it seemed

like there’s a story behind it. And, ending with When The

Music’s Over gives it that feeling, I think it’s very personal

and very universal at the same time,” explains Steve.

“These times we live in with AI and the world is changing

fast. And as a musician, it can feel like that sort of last of

the blacksmith type of thing, especially for a guy like me,

playing everything together. The album’s done straight

to tape, recorded live in the studio. It’s not how the world

works anymore.”

The latter was written with creative counterpart Johnny

Pilgrim. “It’s really my life story there. I heard rock and

roll as a kid, and I was fascinated by it. And I would play

air guitar. I would play on a tennis racket, on a hockey

stick. And then eventually I met some friends and one of

them had an electric guitar and the other one had a drum

kit. I didn’t even know that in my town there were electric

guitars. I thought that it’s something that they had in the

big cities,” laughs Steve. “And then at 16, I was playing

clubs. And by the time I was 18, I was a professional musician

and moved to Montreal. And I’ve been doing that

ever since.”

The highs and lows of life as a professional musician are

explored in the song. “In the story, the guy gets screwed

by a record label. And I’ve gotten screwed many times.

Lately, I’ve gotten screwed again. It always happens in

the music business,” said Steve. “And in the song, the

last verse is the guy’s touring in a beat-up car and he

plays a dive bar. He plays a wedding, a wake. I don’t play

weddings or wakes, but at the same time, the guy in the

song says, but don’t get me wrong. I’m still happy doing

this. That’s what I love to do. I love playing music for the

people. And that has never changed. And it won’t. And

I’m fortunate enough to have an audience, at least here

in Canada, where I can make a living and tour most of the

year. And I play to sold-out audiences here.”

As an artist, there is a lot of anticipation and hard work

involved in releasing your art. “I always put everything

into my albums, but you never know how the people are

going to react to it,” said Steve. “Obviously I enjoy playing

these songs live, and it’s a great feeling to finally have the

album out, because I’m an independent artist, it’s my own

record label, I don’t have a manager, so it’s a lot of work

to get there. It’s one thing to write the songs, to perform

them, and to record them, but then to put it out, and finding

the guy who’s going to do the album cover, getting the

Steve adds: “There’s all these concerns about AI and what

the future holds. We had a big election here a week ago,

south of the border. That changed a lot of things for us

Canadians and for the whole world. But at the core of

that, there’s that light at the end of the tunnel. It’s my love

for music, and music will always be there. And there’s

what’s going on in the world right now, but music is eternal.

And it’s always been there for me, and it always will

be there. And it’s the same thing for everybody.”

The subjects that the artist grapples with on the album

come from a personal place. This style of writing

is something that he enjoys. “It’s easier for me to write

about something that I can relate to,” he says. “And if it’s

something that I’ve experienced, it sounds more natural.


t-shirts done, getting the CDs done, the promotion,

it’s a lot of work, and it’s not what I enjoy. I do these

things just so I can keep on playing the guitar, it’s

just something that I have to do.”

Eric Buggea

With the album finally released, how is Steve feeling

about the album? “It’s a great feeling. It took a long

time to get there,” explains Steve. “Basically, the

album came out exactly a year and a half after I

started writing the songs for it, so it’s a lot of hard

work to get there, and now it’s my favourite part of

the whole process. I’m touring, I’m playing the songs

live, and the reaction has been great. People are

really digging the album, and the songs work great

live, and they were made to be played live, so the

show is really happening.”

Performing the new material live has been a rewarding

experience. “It’s great to be back on the

road and to see the fans with new material. The

reaction to the new stuff has been great,” said Steve.

Perhaps the biggest reward of all has been the reaction

from the artist’s followers. “Most fans write

to me telling me that it’s their favourite album yet,”

concludes Steve.

Steve Hill’s new album “Hanging On A String” is

released by No Label Records and is available from

www.stevehillmusic.com

EXPLORE


BIG BLUES

REVIEWS

STEVE HILL

HANGING ON A STRING

No Label Records

If you read our interview with

Canadian blues/rocker Steve Hill in

the current issue, you may get the

impression that his new album had

its fair share of trials and tribulations.

You might even say it was a

bit of an up Hill struggle, if you will

excuse the pun. But troubles aside,

one thing that the artist’s challenges

did not dampen on his new album is

the quality of this amazing release.

Fans of Hill argue that Hanging on a

String is perhaps his best album yet.

And having listened to the record,

you would be hard-pressed to argue

against that sentiment. Although not

by intention, the release is a concept

album of sorts. But don’t expect the

traditional type of concept record

like Tommy or Quadrophenia by The

Who. It has more to do with the fact

there is a story or common thread

that runs through the album. This

narrative became apparent to Hill

upon completion of the album. The

title track opens the album with the

line ‘woke up in a house on fire’. A

note which comes from a true story

which the artist encountered following

the conclusion of a Canadian tour.

And if that doesn’t grab your attention,

then nothing will. The song has

a real old-school groove, perhaps in

the style of hill country blues. The

track is underpinned by a foot-tapping

rhythm and searing fuzz-fuelled

guitar riffs. The sound on the album

switches up thanks to Devil’s Handyman,

and the song’s sinister vocals and

poetic lyricism perfectly accentuate

the mood. Steve grapples with his life

and experiences in the music industry

during the autobiographical number

Show Ya. It’s an up-tempo blues/rocker

fuelled by Steve’s passionate delivery.

Show Ya is one of the standout tracks

of the release. Just glancing down the

track list of the album, the song title

World Gone Insane feels particularly

pertinent in the strange times

we are living through. The song

builds from a slow and sombre

introduction into a raging slice

of groove rock that, in places,

is reminiscent of bands like

Queens of the Stone Age. s the

album progresses, the raw studio

sound of Maggie instils the live

feel of the album. The song is

perhaps catchier than The Common

Cold and features another

heart and soul-performance from

Hill. Much like the track which

follows it, You Know Who.

LISTEN NOW

Adam Kennedy

REVIEWS DECEMBER2024 REVIEWS DEC

A TRIBUTE TO EDDIE BOYD

STOVAL, COAHOMA

Bluelight Records

A tribute to Blues legend Eddie Boyd is

long overdue in my opinion, it has been

thirty years since we lost him. Now, you

would be forgiven for expecting a bunch

of Blues artists from America, especially

the deep south of America to release

such an album. Now you are probably

thinking that Finland is as far removed

from the Delta as it is possible to be, but

you would be wrong in that assumption.

For many years, Finland has been at the

epicenter of Scandinavian and European

Blues. Now I have to admit that the musicians

on this album are new to me, but

what a great bunch of Blues artists they

are. Eleven tracks on the album each one

a classic with the band giving no quarter

at any turn. Stovall, Coahoma sees Pepe

Ahiqvist regale us with his brilliant vocals,

guitar playing, and harmonica playing,

leaving you in no doubt as to these

guys’ credentials. She Is Real has Jukka

Gustavson showing off his skills on the

keyboards alongside the rest of the band

who, I must say, have

made one of the finest

Sebastien-Desilets

60 BLUES MATTERS! ISSUE 144

EMBER2024 REVIEWS DECEMBER2024 REVIEWS DECEMBER2024 REVIEWS DECEMBER2024 REVIEWS DECEMBER2024 REtribute

albums I’ve ever heard. Five Long

Years has been covered by the great and

the good even before Eddie Boyd passed

away, and there have been many great

versions since. I’m not going to say this

tops any of them, indeed, it’s a much

slower version that doesn’t have the

climactic finish of the old live versions,

but it has been done with expertise and

guile. A wonderful tune given the grace

it fully deserves. As I attested to earlier,

these guys who originate from Finland

are some of the best Blues artists in the

whole of Europe, which proves to me

that the Blues is in very capable hands

outside of America as well as inside

America. If you want further proof of

this, take a listen to, The Blues Is Here To

Stay on this album. It is simply jaw-dropping.

It has been a pleasure listening to

this album, Bravo guys. Many thanks for

reminding everyone of the talent that

Eddie Boyd shared with us all. I’m sure

he’s smiling in heaven.

ALL IS

Inde-

STEPHEN HARRISON

WELL

TICKET WEST

pendent

Ticket West are brothers Pascal

and Walter Wilheim from

the Netherlands. Following on

from the albums High Class Horse

(2020), Driving Man (2021), 49

Park St. Blues (2022) and Chucufu

(2023 with Greg Izor) they released

their fifth album All Is Well in August.

With Walter on guitar and Pascal on

bass and vocals the brothers enlist the

help of friends Kees Van Herk on drums,

percussion, Bas Kleine on Harmonica and

Paul Bond on keys. All Is Well contains

all original songs in the blues tradition

of love, loss and judgement. The album

opens, with Buzzing, a driving drumbeat

and guitar riff keeps the tempo up

on this toe tapping tale of his baby not

wanting him anymore. Don’t Judge Me,

is a mid-tempo shuffle with a drum and

guitar rhythm given depth with clapping

and stinging guitar riffs, while Head Over

Heels, features a jaunty groove from

the drums and wonderful piano work.

Rhythmic drumming and guitar riffs fill

out Hip Shakin’ Woman Waiting, with its

grooving R n R rhythm and Chuck Berry

riffs. The swing blues of Wedding Blues.

The album closes with God Save My

MARCUS TRUMMER

FROM THE START

Gypsy Soul Records

Rising star of the Canadian blues scene,

Marcus Trummer, released his new

album From The Start via Gypsy Soul Records

on Friday, 15th November. For his new album, the young bluesman

travelled to Toronto to work with a crack team of musicians and producers.

Perhaps you could say that there is a common thread running through

the album thanks to production work by The Commoners’ guitarist Ross

Hayes Citrullo, with additional contributions from the band’s Miles

Evans-Branagh (keys and piano) and Adam Cannon (drums). The record

opens with Holding Out For You. A song with a soulful summertime

groove that is oozing with keys, horns and Trummer’s silky-smooth vocals.

an album which showcases

talent beyond his age

Let You Down follows in a similar vein. His tone and fretwork particularly

in his soloing further exemplify that the artist has found his sweet spot

in the soulful blues space. Hard Time changes the mood of the album

with a more sombre number. The pertinent message found in Waiting For

Change highlights Marcus’ songwriting capabilities. The artist’s wonderful

vocal delivery

is coupled with a

superb solo which

illustrate Trummer’s

tone and appreciation

of space. The

award-winning

bluesman pays homage

to perhaps the

greatest of all, BB

King, with the traditional

blues number

The Only Thing. The

soulful blues sounds

of From The Start

features undertones of heavyweights of the genre, the Tedeschi Trucks

Band. The penultimate song of the album Ready To Go confirm Trummer’s

influence by soul greats like Bill Withers and Marvin Gaye. The sound is

classic, to say the least. The album concludes with Let The Devil Win, as

Trummer switches gears during an all-out rocker. At just 23 years old,

Marcus Trummer delivers an album which showcases talent beyond his

age. A young man with an old soul, but most importantly, a bright future. If

this album is just the start, we look forward to more of what’s to come.

LISTEN, WATCH AND DISCOVER

MORE AT THESE ARTIST LINKS

Adam Kennedy

ISSUE 144 BLUES MATTERS! 61

REVIEWS DECEMBER2024 REVIEWS DECEMBER2024 REVIEWS DECEMBER2024 REVIEWS DECEMBER2024 REVIEWS DECEMB

NEIL SADLER

PAST TO PRESENT

Independent

Past To Present is the first solo album that

Neil Sadler has released. He has, in the past,

worked with the likes of Dennis Siggery and

The Eric Street Band. Sadler is no stranger

to the world of the Blues, as this fine album demonstrates. All the

songs are written by Daler, except for two, one of which was co-written by

his partner, Karen Jenkinson. No Love Left No More, is the opening track

of the album, and what it tells us is that this first solo album has been well

worth the wait. Sadler’s previous work has always found him firmly rooted

within the Blues, and this is no exception. The track co-written with

Jenkinson is A Bad Case Of Company Blues, which portrays the rawness

this album affords you a glimpse into

what I’m sure will be a very bright future

of his vocals perfectly, a tune straight out of the ZZ Top Drawer, but with

the ability to showcase both of the writer’s talents. The other song that

was not written by Sadler is When The Levee Breaks, a Blues standard

for almost a hundred years. Written by Lizzie Douglass (Memphis Minnie)

and performed by Memphis Minnie and Kansas Joe McCoy in 1927, it has

also been covered

by Led Zeppelin,

and more recently,

by Beth Hart. So

Sadler finds himself

in what can only

be described as, an

esteemed company.

Let me tell you this,

he is not out of his

depth by any stretch

of the imagination.

Bravo Neil. Now, if

you wanted a title

that could perfectly

sum up a Blues scenario, 40 Miles Of Bad Road, would fit the bill. It covers

everything you need to know about Blues music, and its various trials and

tribulations. Past To Present sums up Neil Sadlers musical career so far,

a career of fine musicianship, great writing, and wonderful singing, this

album affords you a glimpse into what I’m sure will be a very bright future.



STEPHEN HARRISON

Woman, an acoustic front porch blues

with a subtle drum rhythm and melancholic

guitar with plenty of wailing

harmonica up front, no downbeat blues

here, whatever the subject these guys

keep it fun and fresh

SHIRL

CORKY SIEGEL

SYMPHONISC BLUES NO.6

Independent

Corky Siegel’s newest release is a

remarkable fusion of blues and classical

music, showcasing the harmonica virtuoso’s

lifelong dedication to bridging genres.

Known for pioneering the symphonic

blues genre, Siegel has always dared to

merge the raw, heartfelt expression of

the blues with the sophisticated structures

of classical composition. With this

release, he delivers yet another powerful

piece that deepens the genre’s possibilities.

The piece opens with a haunting,

soulful harmonica line, straight from the

smoky blues clubs of Chicago, Filisko’s

Dream. It then intertwines with lush

orchestral arrangements that feel both

unexpected and effortlessly cohesive.

The dialogue between the orchestra

and Siegel’s harmonica gives the work

an electrifying tension. The symphony’s

swelling strings and brass sections

provide a grand, dynamic backdrop,

while Siegel’s harmonica adds an edge

that’s gritty, tender, and often joyfully

defiant. What’s particularly impressive

about the release is its capacity to evoke

both intimacy and grandeur. Moments

of lyrical, melancholic beauty flow into

raucous, foot-stomping crescendos in

six titles, blurring the line between blues

and classical traditions. Siegel’s expertise

shines in his precise, emotive harmonica

performance, driving home a powerful

sense of narrative whether on the piece,

Slow Blues or the up-tempo and comical

Allegro. The CODA is especially evocative

and inspiring. Wrecking Ball Sonata

is another heady atmospheric tune with a

well delivered dialogue. Opus 11 is a solo

violin piece hewn from the Appalachian

Mountains by the sound of it, superb.

On the seventh track Corky informs the

listener of his vision for the release. For

fans of boundary-pushing music, this is a

must-listen, a testament to Siegel’s vision

and an invigorating example of what

genre-blending can achieve.

62

BLUES MATTERS! ISSUE 144

ER2024 REVIEWS DECEMBER2024 REVIEWS DECEMBER2024 REVIEWS DECEMBER2024 REVIEWS DECEMBER2024 REVIEWS DE

DAVY KNOWLES

THE INVISIBLE MAN

Independent

COLIN CAMPBELL

Davy Knowles is a musician who has

been around the proverbial block a few

times. During this time, he has managed

to collect many admirers and many

accolades. In fact, Joe Bonamassa has

congratulated him on the release of this

album, which goes to show the esteem

in which he is held. He was also the first

artist to perform live for The International

Space Station, how’s that for respect?

Add to that his many Top-5 Billboard

Blues Albums, and you get to see what

makes this guy tick. So, to the album, this

is not an out-and-out Blues album, it is

more of a collaboration of Blues, Blues/

Rock, Americana, and good old Rock “n”

Roll. Tell Me What You Want Me To Be

has a funky guitar riff, not a million miles

away from the intro to, Superstition, by

Stevie Wonder. Knowles adds his great

vocals to the song perfectly blending

with the funky guitar, giving a rockier

edge to the proceedings. The title track,

The Invisible Man, allows Knowles the

opportunity to once again demonstrate,

what I would call, his lived-in vocal range.

Not raw or gritty, but a vocal that has

seen some mileage. This three-piece

KAI STRAUSS

WAILIN’ IN VIENNA

Continental Blue Heaven

German blues virtuoso Kai Strauss delivers

a knockout with his latest scintillating

release. This is an odyssey that bridges

classic blues soul with a fresh, modern flair.

With standout guest appearances by Rusty Zinn, Alex Schultz, and Sax

Gordon, Strauss offers fifteen tracks that swing between nostalgia and

fiery energy, proving he’s got a deep respect for the genre’s roots while

pushing it forward.

The album opens with Old Fashioned Daddy, a toe-tapping tribute to

blues’ golden era, setting the stage for what’s to come. 5$ Shake follows

Kai Strauss at his best, raw, heartfelt,

and steeped in the spirit of blues

with a fun, infectious rhythm that invites listeners to join the ride, while

Travelin’ Man dives into the bittersweet reality of life on the road, brought

to life by Strauss’s soulful guitar and Zinn’s vocal flourishes. Stranded,

takes a slower turn, Schultz’s intricate solos lending an emotional weight

that stays with you.

The mid-album

jam, Sweet and

Salty, highlights Sax

Gordon’s brassy

flair, adding a

sassy punch to the

album’s flow. The

heart of this nostalgic

release pulses

through tracks like

You Quit This Game

Too Soon and Slow

Roast, where the

groove simmers,

drawing listeners

into their meditative pull. The title track is a smoky homage to

Vienna’s musical legacy, capturing the city’s bluesy undercurrent

in under three minutes. Strauss wraps things up with

the reflective, My Old Time Used to Be and Three Bells in a

Row, soulful closers that linger long after they end. This is

Kai Strauss at his best, raw, heartfelt, and steeped in the

spirit of blues.

COLIN CAMPBELL





MARC

BROUSSARD

TIME IS A THIEF

Artist Tone Records

This is the first album of original

music by Marc Broussard since 2017. Ten

brand-new songs from one of the finest Southern Soul singers,

this album has been well worth the wait. Broussard has surrounded

himself with the cream of the crop of musicians as well as producers,

Eric Krasno, who also chips in on writing some of the songs, and Jeremy

Most. The horn arrangements are courtesy of Daniel Casares who put

the funk into funky here. The songs are so Soulful, so full of harmony

It really is a top-drawer piece of work

and groove, Broussard has knocked this out of the park once again. Cold

Blooded is one example of just how silky smooth Broussard and Krasno

have developed since starting to work on this album together. Time Is A

Thief is the epitome of Soul and Funk, it sometimes takes you back to the

heady days of early 70s Soul that came out of Harlem, even though Marc

Broussard is from

the Southern side

of the genre. Give

You The World had

me thinking about

what it reminded

me of, and then it

dawned on me, Hall

and Oates. Not that

Broussard is in any

way trying to copy

them, he certainly

doesn’t need to try

and imitate anyone,

I think that he’s such

a good writer and singer, he oozes class like others have done that have

gone before him. The final track, Stay Still almost made me feel rather

sad, mainly because it was the end of such a marvelous album. It really is

a top-drawer piece of work. One thing that I would dearly love to see, is

this group of musicians going out on tour to promote this album. Now that

would be one hell of a gig.



STEPHEN HARRISON

band, with Tod Bowers on Bass, and

Mike Hansen on Drums, leaves the guitar

work to Knowles, and a very competent

guitarist he is. All My Life sees a change

of pace and direction, veering towards

the Americana side of things. This album

has an air of feel-good about it, all of the

songs flow in and out of so many genres,

sometimes within the same song. Davy

Knowles reminds me ever so slightly of

Bob Seger, a guy you can’t pigeon-hole,

but a guy who touches you in so many

ways with his music. Saving the best to

last, is the way I’d describe, Wonder You

Are, the final track on the album. All of

the songs are enjoyable, but this one

sticks out for me, melancholy lyrics, the

guitar with so much feeling, and an overall

sound that makes you sit up and listen

for one last time. These guys, originating

from Chicago have made an album of

musical pleasure. Treat yourself, and get

a copy.

DE WOLFF

MUSCLE SHOALS

Mascot Label Group

STEPHEN HARRISON

DeWolff’s latest release is a bluesy, soulful

tribute to the roots of rock, dripping

with authenticity and swampy Southern

charm. Recorded at the legendary FAME

Studios in Muscle Shoals, Alabama, a

hallowed ground for some of the biggest

names in blues and soul, DeWolff delivers

a sound that feels like both a homage

and a revitalisation of classic Southern

rock. The trio captures the spirit of

vintage blues-rock with gritty precision.

Frontman Pablo Van De Poel’s guitar

work is raw, electrifying, and refreshingly

unpolished, blending seamlessly

with brother Luka’s pulsating drums and

Robin Piso’s Hammond organ that oozes

with attitude. Tracks like the opener, In

Love and the tune, Natural Woman are

gritty, drenched in soul and distortion

as is the benchmark on Ophelia, that

takes a life of its own, so many layers to

this one. Let’s Stay Together, showcases

the band’s versatility with mellow, sundrenched

vibes that feel like a lazy summer

afternoon in the Deep South, a particular

favourite. This release doesn’t just

flirt with nostalgia, it dives headfirst into

it, embodying the sound and swagger of

its namesake while bringing a modern

energy that feels both reverent and rebellious,

as noted on the up-tempo Hard



To Make A Buck. DeWolff pays homage

to the legends of the past while staking a

bold claim on the future of blues rock. De

Wolff’s best release, yet a unique sound

on these scintillating tracks, a sure fire no

holds barred approach just stunning.

COLIN CAMPBELL

DOWN HOME BLUES

CHICAGO-THE BEAUTIFUL

STUFF

Wienerworld

Now, if you think you have a difficult job,

whatever it may be, just imagine trying

to pick just fifteen songs from a back

catolouge of Chicago Blues. That is nigh

on impossible, but two guys have managed

to do just that. Chris Bentley and

Mike Rowe have compiled this album,

and what a fantastic job they have done.

The album comes with a four-page

booklet giving background information

on the songs and the artists, reminding

us of days gone by, the cream of Chicago

Blues. Tack one, side (1) sees Muddy

Waters open the proceedings with Rollin’

Stone, and we all know what that particular

song led to. That’s All Right, by Jimmy

Rogers is the same tune that we all

know and love, but don’t be fooled into

thinking that this is the Country artist,

this Jimmy Rogers first teamed up with

Muddy Waters and his band when Muddy

made the trip to Chicago. Many tracks

on here are very familiar to everyone, but

the beauty of this album is that there are

also some hidden gems, songs that we

may have unwittingly forgotten about.

Songs such as Evening Shuffle, by Johnny

Shines. Now Johnny Shines is no stranger

to Blues aficionados, but this song may

not be on the tip of your tongue. In the

beginning part of his career, Shines had

traveled around America playing guitar,

singing, and blowing the harp, quite often

with a guy by the name of Robert Johnson,

before coming back to Chicago and

recording under his own steam. Often

Shines would be annoyed with interviewers

who wanted to know about Johnson

instead of his own recording career, and

who could blame him, he was a Blues

artist in his own right, a very good Blues

artist. When I mentioned hidden gems,

Pete’s Shuffle Boogie Part 1, by Mata Roy

is a song that I had long forgotten about.

That’s why I love this compilation so

much, being reminded of just how good

she was, before vanishing almost off

WARREN HAYNES

MILLION VOICES

WHISPER

Fantasy Recordings

Warren Haynes has released a double

album and has collaborated with his former

bandmate, Derek Trucks on the producing side of things,

as well as Trucks guesting on three songs. I doubt there are many artists

around who have released or been part of as many ventures as Haynes

has. From The Allman Brothers, Gov’t Mule, and a hundred in-between

albums. Warren Haynes has been a long-time favourite artist of mine for

more years than I care to remember, so I was so pleased when this album

found its way to my humble abode. Nine brand-new tracks that start

with, These Changes, which incidentally has Derek Trucks gusting on. The

A monument of musical greatness

reunion of these guitar greats electrifies this song, with Haynes vocals as

good as they have ever been. Halfway through the song, I was thinking

to myself, if the rest of the album is half as good as this, then I’m in for a

treat. And guess what, each and every song is just as good as the opening

tune. Find The Cost Of Freedom/ Day Of Reckoning sees Haynes at his

lyrical and vocal

best, such a sweet

tune proving that

he has lost none of

the work ethic that

he’s always had, that

attention to detail,

which is so good

every track seems

effortless. Lies, Lies,

Lies, Monkey Dance,

Lies Lies, Lies, is

quite a strange title

for a song, however,

don’t let that put

you off because the song itself is stunningly good. Filled with funk, Warren

Haynes blasts through it with the help of great keyboards and a magnificent

horn section that will have you out of your chair within seconds. Million

Voices Whisper is, in my humble opinion, one of the greatest albums

Warren Haynes has ever recorded, a bold statement I know, but when

you sit and listen to it, I don’t expect many people will disagree with me. A

monument of musical greatness.



STEPHEN HARRISON



IAN SIEGAL

MEETS JOHNNY

MASTRO

EASY TIGER

Continental Blue Heaven

When Ian Siegal and Johnny Mastro met in a New Orleans studio, they

fused British and American blues into this new project, a live-recorded,

high-voltage album that rolls in like a Southern thunderstorm. Siegal’s

gravelly, whiskey-laden vocals and expert guitar mesh with Mastro’s ferocious

harmonica, forging a raw, powerful sound that’s as authentic as it is

a wonderful collaborative masterpiece

gritty. The album roars to life with Four on the Floor, an energetic opener

that ignites the bluesy, soul-filled journey ahead. Balling the Jack follows,

with Siegal’s voice and Mastro’s harmonica sparking off each other in a

fervent exchange of raw talent. Slowing things down, Baby You Can Get

Your Gun unveils Siegal’s introspective side, while No Mercy unleashes

Mastro’s blistering

harmonica in a

relentless surge. The

swaggering beats of

Dog Won’t Hurt and

Tall and Tight, capture

New Orleans’

wild charm, while

Miss Your Cadillac

tugs at heartstrings,

driven by Siegal’s

soulful croon and

Mastro’s piercing

harmonica. On the

explosive, Quick to

Gun, the pair are fearless, showcasing an electrifying synergy that’s all

blues grit and passion. Emperor’s New Clothes and Wineheaded, bring a

vintage, hard-edged feel, with Who’re in Church diving deeper, layering

Siegal’s thoughtful lyrics with Mastro’s haunting harmonica. This infectious

release closes with Oedipuss, a burst of raw energy, embodying the

duo’s unfiltered spirit. This thirteen-track release is a journey through the

blues genre in its purest form, a must-listen for fans of unpolished, souldrenched

blues, a wonderful collaborative masterpiece.



COLIN CAMPBELL

the face of the earth in the early 1960s.

This album opened with Muddy Waters,

it ends with, Coming Home, by Elmore

James. What a fitting end to an amazing

collection of Blues songs. Congratulations

to messers, Bentley and Rowe.

EARLY JAMES

MEDIUM RAW

Independent

STEPHEN HARRISON

This album was recorded in Buddy’s

house, “Honky Chateau” in Nashville,

Tennesee. That is as much as I know

about the recording of the album. To be

honest, I don’t need to know much more.

All of the songs were written by Early

James, who plays guitar and also sings

on all of the tracks, not so much a oneman

band because he does have a little

help from his friends, Jeffery Clemens

(Drums) Adrian (Bass) and Sam (Percussion).

So, the album, it’s an all-acoustic

stripped-back, and yes, medium raw

kind of album. Steely Knives is the first

offering, and it did put me in mind ever

so slightly of Steve Earle. Now, there is

nothing wrong with that, and I don’t for

one moment think that James had Earle

in mind when he wrote the song, it just

resonated with me in that way of thinking.

Tinfoil Hat, which was released as a

single, has a dark, morose feel, the lyrics

dragging the guitar down and then, suddenly

back up again, in a topsy-turvy tale

of darkness. On the other hand, Gravy

Train has a more lighthearted, upbeat

approach. The guitar has the sound of a

train roaring down the tracks, and the

lyrics once again prove that James is

adept as a songwriter. I Could Just Die

Right Now is as dark and morose as life

gets. This is not a song about someone

wanting to die, but more about the

moods we can all find ourselves in from

time to time. It is very cleverly done, Earl

James is telling a story more than he is

singing a song, a different interpretation

of one’s feelings. This album succeeds in

many ways, lyrically, and thought-provokingly,

and it can also come across as

a storybook, not just an album of fine

tunes. Early James has produced a gem

of an album. Tune in, relax, and be prepared

to be taken somewhere you’ve not

been before.

STEPHEN HARRISON



EDDIE 9V

SARATOGA

Ruf Records

US-based bluesman Eddie 9V returns

with his new album Saratoga. The Ruf

Records release covers a vast sonic

landscape which takes the listener on

a musical journey across the album’s

twelve amazing tracks.The title track and

opening song of the album is perhaps the

author’s favourite song of recent times.

Saratoga has received frequent radio

airplay and it’s easy to understand why.

The track’s captivating chorus draws

the listener in. The song is an earworm

of the highest calibre, once you hear

it the song will stay with you for days.

Recent single Halo follows. The song has

a sweet, soulful, finger-picking groove.

The addition of horns adds a wonderful

texture, whilst Eddie’s voice and vocal

delivery, particularly on the high notes is

on point Songs such as Cry Like A River

transport the listener to the 60s. The

song is almost like a time machine, harkening

back to the glory days of artists like

Otis Redding. Subsequently, the funky

groove, tight beat and wonderful backing

vocals of Love Moves Slow make it one of

the many stand-out songs on the release.

And although songs like Cry Like A River

may have more of a retro feel, it’s tracks

like Delta and Red River which bring the

album up to date with a more contemporary

soulful blues sound. Wasp

Weather is reminiscent

in places of peers like

The Black Keys.

And the song’s

foot-stomping

beat and fuzzy

DOM MARTIN

BURIED ALIVE

Forty Below Records

Having recently seen this powerhouse

trio at Edinburgh Blues Club, I was eagerly

awaiting this double album release,

this is intrinsically better played on vinyl this

is just an observation of listening to these sixteen tracks. Capturing the

raw energy and soul of his live performances, this record serves as both a

testament to his undeniable talent and a gift to his rapidly growing fanbase.

He deserves the plaudits and awards as his musicality is hypnotising,

mesmerising just a unique artist. This outstanding live release offers an

intimate yet electrifying experience. These songs showcase his knack for

storytelling, with stripped-down acoustic renditions that let his intricate

a must-listen; a triumph that

cements Dom Martin’s place

fingerpicking and gravelly, impassioned vocals take centre stage, like the

opener, Daylight I Will Find You. Tracks like Howlin’, Belfast Blues and the

broody, Buried In The Hail are drenched in emotional depth, their melodies

weaving stories of longing and resilience. Unhinged, brings a rocky

groove and riff of its own, bass player Ben Graham and drummer Aaron

McLaughlin are

the perfect rhythm

section, and they

all have that intrinsic

chemistry on

stage that connects

with the audience

making these live

events special. They

unleash scorching

electric blues

swagger on numbers

like, Lefty 2 Guns

and 12 Gauge, that

draw Dom to be

compared to legends like Rory Gallagher and Stevie Ray Vaughan. For

blues aficionados and newcomers alike, this live release is a must-listen;

a triumph that cements Dom Martin’s place as one of the most exciting

contemporary artists in Blues music today.

COLIN CAMPBELL



Jim Heal



OLLEE OWENS

NOWHERE TO HIDE

Independent

Canadian singer-songwriter Ollee

Owens, raised in the heart of the

Prairies, has always been surrounded

by music. Inspired by

legends like Elvis, Mavis Staples, and Bob Dylan,

she began writing songs as a way of processing life’s chaos and give

voice to her emotions. After taking a 15-year break to raise her family,

Owens never fully left music behind, continuing to write, perform, and

work as a volunteer music therapist. Encouraged by friends and mentors

like the late Bill Dowey, she decided to pursue music professionally. In

2022, she released her debut album Cannot Be Unheard, and now returns

her vocals are astounding,

this is a powerful release

with this her sophomore release. Produced by drummer Bobby Blazier

and recorded in Nashville, the album opens with the title track, showcasing

Owens’ soulful vocals and the guitar work of Will McFarlane and Phil

Hughley. Tracks like Solid Ground and Roots explore themes of resilience,

with Owens’ lyrics reminding us that no storm can bring us down. Her

songwriting

shines through

on Some Days,

a blues-infused

track about life’s

ups and downs,

while Shivers

and Butterflies,

reveals a tender,

romantic side.

The release

closes with a

powerful cover

of Bob Dylan’s

Lord Protect

My Child, where

Owens’ personal connection to the song, influenced by her experience

raising a daughter with a cognitive disability, adds depth and emotion.

These eleven well-crafted songs are full of heart, celebrating love, resilience,

and the beauty of life’s journey and her vocals are astounding, this

is a powerful release, highly recommended.

guitar riffs perfectly capture the mood of

the song title. Truckee is perhaps one of

the most unique songs on the album. It’s

more of a traditional acoustic number,

which conjures up images of legends

like Crosby, Stills and Nash. Towards the

end of the album, Chamber of Reflection

illustrates the funkier side of Eddie 9V’s

repertoire. Whilst album closer, The

Road to Nowhere shows that the artist

can croon with the best of them. Saratoga

continues to showcase Eddie 9V’s

musical evolution. Holding his own with

the great and good of the contemporary

blues/rock scene. Exciting times beckon

for the soulful blues artist.

ADAM KENNEDY

ERIC STREET BAND; THE

WORD ON THE STREET

THE WORD ON THE

STREET

Independent

Here’s a sad story which no doubt

affected many bands during the great

COLIN CAMPBELL



Gregory Crowe



Covid blight 2021-22. The Eric Street

Band, comprising Dennis Siggery, vocals,

Gordon Vaughan, guitars and keyboards,

Henry Smitson, bass and drummer Adam

J. Perry are joined here by an impressive

Dave Raphael on harmonica. Just

as Covid’s Grim Reaper started waving

his scythe around the band had scored

a hit and even charted in the USA with

The Eye Of the Storm, the band were

silenced. What followed was the cancellation

of recording this the new set

of compositions, problems with gear

going down and the inevitable separation

from one another during the pandemic

took their toll. Thankfully, all that’s

behind them and there’s no doubt here

that hardships have one benefit – they

truly tighten up blues music. Track 4,

The Truth Hurts, is a sturdy, heart-felt

slow blues with some stirring guitar

from Gordon Vaughan behind Dennis

Siggery’s always well-delivered vocals.

Having a superfan contact in the USA

willing to devote their time to a British

band is always a bonus. Sadly, The Eric

Street Band lost their great transatlantic

support, Diana Swens, to illness in 2023.

None the less, Diana’s support would

LIONS IN

THE STREET

MOVING ALONG

Interior Castle Music

I have to admit that this is my first encounter

with this band, I’ll apologize now. The band can list many influences

and meetings with people who were around at the end of the ‘60s and

early ‘70s, when you hear the album, you’ll understand why. Don’t be fooled

into thinking that Lions In The Street is some sort of caricature of days gone

by, these guys have taken Blues/Rock, and ‘60s and ‘70s rock, and brandished

it into their own make-up. The title track, Moving Along, opens the album,

when I say opens it, it kicks the doors off. Chris Kiinon on lead vocals drives

the album track after track, forging a pathway as if his life depended on it.

a must-listen; a triumph that

cements Dom Martin’s place

Raspy raw, and full of conviction, Chris Kinnon pounds his way through the

lyrics without seeming to take a breath. It’s a high-octane juggernaut of an

album that takes no prisoners and turns your mind a hundred different ways,

allowing you trips down the musical memory lane. Mine Ain’t Yours starts

with a riff Not a Million Miles Away from The Faces, Stay With Me, and having

such a gravelly

vocal, Rod Stewart

also pos up in the

memory bank. You

get that feel, that

energy that bands

such as The Faces

had in their armory.

Lady Blue does allow

the band to take

their foot off the gas

pedal slightly, but

you can feel that the

song could suddenly

combust at any given

moment. Hey Hey, Arlene has Chuck Berry written all over it, from the opening

riff to the jumping beat and rhythm that almost threatens to bring back

Chuck from the other side. I have to say, I’ve thoroughly enjoyed this album

from start to finish, I can only imagine how good this band is in a live setting.

Hopefully, I’ll find out before too long.

STEPHEN HARRISON




REVIEWS DECEMBER2024 REVIEWS DECEMBER2024 REVIEWS DECEMBER2024 REVIEWS DECEMBER2024 REVIEWS

have doubled had she heard this album.

Solid, honest blues all written by Siggery

and Vaughan – trust The Word on The

Street – it’s rarely wrong.

ROY BAINTON

JEREMIE ALBINO

OUR TIME IN THE SUN

Easy Eye Sound

On last year’s release, Tears You Hide,

Toronto singer-songwriter Jeremie Albino

proved himself a talent to watch, with

a powerful, versatile voice that moved

seamlessly through rock, soul, blues,

and folk. His latest album, Our Time

In The Sun, builds on that foundation,

highlighting a new level of intensity and

ambition under the sharp production of

Dan Auerbach. Albino’s voice, alternately

soulful and gritty, shines through each of

these twelve well-crafted tracks, marking

him as a true rising star. The lead single,

Rolling Down the 405, captures the

spirit of classic open-road anthems with

a bluesy swagger reminiscent of early

Rolling Stones. It’s a perfect summer

tune, practically begging to be blasted

on a long drive with the windows down.

Elsewhere, Albino’s more soulful side

emerges in tracks like Baby Ain’t It Cold

Outside, Our Time in the Sun, and I Don’t

Mind Waiting. With backing from the

likes of former Dap-Kings bassist Thomas

Brenneck and drummer Malcolm Catto,

Albino’s sound nods to Otis Redding

and Irma Thomas while keeping things

fresh and vibrant. His ability to stretch

within genre conventions is a highlight,

as with Dinner Bell, a swampy blues

number bursting with loose, infectious

energy. Give It To Me One Last Time

starts as a soulful ballad before erupting

into a chorus and guitar solo that evoke

a psychedelic rock finish. The final song

is Hold Tight, a stripped-down, acoustic

love song, a fitting, intimate ending to a

record brimming with heart and promise.

COLIN CAMPBELL

KENNY “BLUES BOSS”

WAYNE

OOH YEAH

Stony Plain Records

At 80, legendary singer, songwriter,

and piano firebrand Kenny “Blues Boss”

Wayne continues to redefine aging in

music. The U.S.-born, Canadian based

musician, Wayne remains as prolific as

ever, with his newest release. This marks

his fifth album in eight years, and this is

a showcase of Wayne’s ever widening

musical palette. Wayne opens with the

lively, boogie-woogie of the title track

Ooh Yeah, a jolt of energy that sets the

tone for both this release and his live

shows. He navigates the blues with a

mix of styles, from the Latino inflected,

Sailing with the Sunset, a nod to New

Orleans and Professor Longhair, to the

soulful, Temptations inspired, It’s Pouring

Down, where rain reflects his emotional

depths. Wayne’s prowess as a producer

shine throughout, especially on tracks

like Baby, I’m Your Man, which features a

punchy horn section that enhances rather

than overpowers. On the thumping

Blacklist, Wayne combines his sharp funk

groove with raw lyrics about romantic

frustration, underscored by electric

piano shades reminiscent of Ray Charles.

One of the releases most surprising moments

is Try It Out, featuring bluegrass

banjo by Jimmy Bowskill, injecting a

unique fusion of funk, gospel, and country.

Less effective, yet poignant, is the

LISTEN TO THE BLUES MATTERS

PODCAST

Listen to some amazing interviews with

the artists we’ve been lucky enough to speak

to for the magazine. NOW ON YOUTUBE!

SAMANTHA FISH

In this exciting episode, Adam Kennedy sits down with blues

sensation Samantha Fish, known for her electrifying guitar skills,

powerful vocals, and genre-defying sound.

CHRISTOPHER WYZE

In this episode of the Blues Matters podcast, host Paul Davies sits

down with Christopher Wyze, a man who has mastered both the

art of advertising and the art of the blues.

TERRY MARSHALL

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

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

anticipated new album.

Kaelan Barowsky



sentimental ballad I Wish Things Were

Different, but Wayne’s core blues sensibility

triumphs with tracks like Honey,

Honey, Honey. With Ooh Yeah, Wayne’s

voice and energy remain vibrant, defying

his years with the spirit of an artist just

hitting his prime.

MARY COUGHLAN

REPEAT REWIND

Hail Mary Records

COLIN CAMPBELL

Mary Coughlan has been writing, recording,

and performing for forty years. This

brand-new album sees a further continuation

of her career as a singer/songwriter.

Most of the songs contained on the

album have been written by Coughlan,

with a couple of covers thrown in for

good measure. Repeat Rewind opens the

album which is not the norm for albums

to have the title track as an opener. I

digress, the song is a lovely, relaxing

ballad, easing the listener in gently. Mary

Coughlan has gained fans throughout

the world in the realms of Folk and

Americana music, which this album has in

spades, but there are also a few Jazzytype

numbers as well. Marital Bliss is

one of these Jazz tunes, in fact, it’s also a

duet with guest vocalist, Dave Browne.

Their respective voices combine so well

together proving that Mary Coghlan is

not just a one-trick pony. Or two tricks

if you count Folk and Americana individually.

Freefalling is another slight

deviation from the norm, an up-tempo

tune that allows Coughlan to stretch her

vocals a tad more. God Only Knows, originally

performed by The Beach Boys is a

wonderfully delivered tune, a lot slower

than the original, but still retaining its

lyrical majesty. Coughlan has done a

great version here, almost as good as the

original. More Like Brigid is the last song

on what has been a wonderful album. An

album full of great songs, and an album

that reminds us who Mary Coughlan is, a

brilliant artist.

STEPHEN HARRISON

MOJO MAN

LOVE & REVOLUTION

Continental Record Services

Gregory Crowe

Mojo Man is a high-octane, 10-piece

juggernaut of blues, rock, and soul,

FREEWORLD

MORE LOVE

SwirlDisc

For over thirty-seven years, FreeWorld

has been a cornerstone of the Memphis

music scene, embodying the city’s rich

tapestry of sound. Drawing inspiration from

legends like Booker T. & the M.G.’s, John Coltrane, The Meters, and Bob

Marley, this multicultural ensemble fuses rock, soul, funk, jazz, gospel,

and reggae into a vibrant, ever-evolving groove. This is their eighth studio

album, and was recorded with Grammy-nominated engineers Kevin

Houston, Ari Morris, and Brad Blackwood. These tracks stand out as a

testament to their creative vitality and enduring legacy. The release pays

homage to FreeWorld’s late founding father, saxophonist Dr. Herman

FreeWorld cements their place in the

pantheon of eclectic timeless music

Green, with heartfelt tributes like the eloquent instrumental Red Moon,

featuring Green’s reflective spoken words. The title track, More Love is a

gospel-tinged anthem sung by Jerome Chism, asking listeners to “spread

your love to those around you.” Tracks like Give Until You Live, with its

New Orleans second-line rhythm, and the reggae-infused Heart On The

Table highlight the

band’s stylistic

breadth. Instrumentals

such as

Rush Hour and Who

Knew? spotlight

their stellar horn

section, including

Peter Climie on

tenor sax, Alex

Schuetrumpf on

trumpet, Frank Paladino

on baritone

sax, and Freedman

Steorts on trombone.

The release crescendos with D-Up (Here’s To Diversity), a poignant

bonus track celebrating unity with contributions from over three dozen

Memphis artists. This release has the feel of an open love letter to Memphis,

a call for harmony, and a triumph of collective artistry. With this release,

FreeWorld cements their place in the pantheon of eclectic timeless

music.



COLIN CAMPBELL



packing a punch that only a seasoned

band with a razor-sharp brass section

and powerhouse rhythm can deliver.

The Mojo Horns: Reinier Zervaas, Henk

Brüggeman, Emiel van der Heide, Robin

Bogert, and Marco Muusz, lay down

the explosive brass lines that define the

band’s rich, retro-infused sound. They’re

anchored by a rhythm section that’s as

tight as it is soulful: Mark Eshuis, Dennis

Hemstra, Patrick Cuyvers, and Bas van

der Wal groove together seamlessly.

Out front, Marcel Duprix commands

the stage with raw charisma, delivering

vocals and guitar work that tap deep

into the spirit of the 60s and 70s. Mojo

Man’s sound is drenched in American

rock ‘n’ roll swagger and unmistakable

British soul vibes, blending influences

into a vintage-inspired yet electrifying

live experience. Jealousy, dives deep

into the psyche of a man haunted by the

image of his wife with another, spiralling

from a mere glimpse into a consuming

obsession. This lyrical soul-baring track

captures the precarious edge between

suspicion and madness, a standout tune.

The opener Love And Revolution, sets

the tone a stomping rock and roll tune.

Happiness is another up-tempo tune

despite the emotional lyrics. Seventeen

brings mellow tones on this soulful track,

Marcel’s vocals never better on this

reflective track. Before We Forget brings

in a slide guitar driven tune with Big Pete

guesting on harmonica very atmospheric

and builds up well. Twelve well- crafted

songs a wonderfully produced well

balanced stylish release, highly recommended.

THE DOOHICKEYS

ALL HAT NO CATTLE

Forty Below Records

COLIN CAMPBELL

When this album dropped through my

letterbox and I saw the name of the band,

the title of the album, and indeed, the

cover, I immediately had a vision of what

kind of album this was going to be. You

may have already formed an opinion

on the name of the band and the title,

but it’s not all Stetsons and Pitchforks.

Granted, this is an album leaning toward

Americana and Country, but it also

throws up the odd Rockabilly guitar and

some Scotty Moore-inspired stuff. The

opening track, Rein It In Cowboy, does

have a certain Country twang, but as I

said, It’s not all Stetsons and Pitchforks.

What does appeal to me is the sense of

humour that Hayley Spence Brown and

Jack Hackett put into their lyrics, they

make songs comedic which makes the

album joyous and lighthearted. Mr. Fix

It is one of the tracks that encompass

the Scotty Moore-type guitar playing,

early Elvis if you like. It’s a Rockabilly,

foot-stomping shake-your-ass kind of

tune, which puts a smile on my face.

Please Tell Me You’re Sleepin’ is a song

that I couldn’t quite believe what I was

hearing. Let’s just put it this way, it’s a

tale of walking in on someone who you

think may be sleeping, then realizing that

they are not alone, and you can’t quite

get the thought out of your head. I’m not

going to say anything else, except, well

done to these guys for injecting so much

fun into the lyrics. This is not a Blues

album, it doesn’t pretend to be, It’s an

album of great singing, great writing, and

an album of fun. Highly recommended.

STEPHEN HARRISON

THE HARPOONIST

DID WE COME HERE TO

DANCE- OR DID WE COME

HERE TO DIE

Tonic Records

The Harpoonist, aka, Shawn Hall has

released his first solo album after being

with his musical partner, The Axe Murderer,

yes, you read that correctly. Their

partnership lasted for seventeen years,

so maybe this is a time out for good behaviour.

Shawn Hall originates from Canada,

and lists among his influencers as,

Sonny Terry and Aretha Franklin. So, that

is what we know, now onto the album,

which is something of a venture into

the unknown. The album was recorded

by Canadian Gordie Johnson who has

worked previously with Big Sugar, a wellknown

Canadian band. The album was

recorded at the ranch owned by Johnson

in Texas. Good People opens the album,

which is also the lead single, and it has a

great harmonica and a vibrant rhythm.

I kept expecting the song to suddenly

erupt, it had that feel of building slowly,

but, surprisingly, it leveled out, that’s not

to say that I didn’t enjoy, it because I did.

I May Not Have It Together, takes a more

direct route down the Blues trail, earthy,

and more direct. Throughout the album, I

tried to put my finger on what the album

was all about and found that I couldn’t,

but this is what makes the album so

appealing, it makes you think outside

of the box. Another thing that floats my

boat about this record is the fact that you

hear Jazz, Blues, African rhythms, and

the odd spot of reggae, sometimes within

the same song. I’m still not sure what this

album is all about, but what I am sure

about is this, It’s a great collection of

songs, that make you sit up take notice,

and see for yourself.

THE TERRAPLANES

BLUES BAND

LIVE AT

TEMPERANCE

Independent

STEPHEN HARRISON

Bristol’s own Terraplanes Blues Band

ignited the stage at the Temperance in

Leamington Spa, delivering a blistering

set infused with British Rhythm & Blues,

plus flavours of Louisiana and New

Orleans. This live recording proves they

are such a wonderful hard hitting groove

laden blues band Their name nods to the

Robert Johnson classic Terraplane Blues,

and fittingly, they summon that same

raw blues spirit. The lineup features Nick

Scrase on guitar and vocals, Eduardo

Allen on harmonica and backing vocals,

Andy Hutt on drums, and Craig Shaw on

bass. Having played together for over

a decade, the band opened with two

highlights from their Midnight Train EP.

The title track, Midnight Train, set the

tone with rich harmonies, while Voodoo

Blues highlighted Eduardo’s captivating

harmonica work alongside Nick’s slide

guitar prowess. Of particular note is their

rendition of Highway 61 a true stomping

tune. Fans were treated to stomp-worthy

renditions of Robert Johnson’s Walking

Blues and the timeless CC Rider. Their

original, Pick Myself Up, from their

Stepping Stones album slowed the pace

down. T Nick performed a haunting

solo of Me & The Devil before Eduardo

joined for Johnson’s Love in Vain. Their

Rolling Stones reinterpretations, Spider

& the Fly, and Little Red Rooster sparking

the audience anew. They powered

through with originals like, My Malaise

and Night Bus, sealing the night with the

rousing Rattlesnake Blues leaving the

crowd whooping and wanting more. They

delivered a gospel-infused encore, John

the Revelator. A superb live release from

a band on the rise, catch them when you

can.

Kaelan OLIN Barowsky CAMPBELL



MISSISSIPPI

MACDONALD

I GOT WHAT

YOU NEED

I’ve been a fan of this guy and his music

for over a decade. Each release just

moves him further up the feeding chain

and with I Got What You Need, a ninetrack

offering, he again highlights his

mastery of soulful blues and cool lyricism.

This is MacDonald working hard, always

with his own love of good soul music

shining through. His personal favourites,

like OV Wright, simmer and stew here

while his vocal range is near-perfect for

the material covered. Just give Hard

Luck and Trouble a listen to catch a full

flavour of this guy’s huge talent, then,

maybe, follow up with one of his own

compositions, Soul City One, to catch the

real flavour on display.This is an album

that simply delivers at every level, an

excellent release from a UK blues-soul

master, who consistently turns out top

quality work with an eye and ear steeped

in Memphis soul,

IAIN PATIENCE

JERRON PAXTON

THINGS DONE

CHANGED

Jerron Paxton is a relative youngster but

his depth of traditional blues knowledge

and talent is already huge. Formerly

calling himself Blind Boy Paxton, he has

repeatedly shown himself to have an

unerring ability to work the old, 1020s

and 30s acoustic blues sound with astonishing

ease. With this fabulous 12-trck

release on US Folkways Records, he truly

hits the blues nail on the head. Switching

from acoustic guitar to fretless, fivestring

banjo, bones and harp, Paxton has

a total mastery of the music that first

lured him in and kept his interest. This

genuinely sounds like that ol’ acoustic

blues from the early twentieth century,

before the Chicago electric movement

even took wings. Anyone and everyone

who loves old school, acoustic blues

music will absolutely adore this guy and

this recording. An absolute must-have

release for us all.

IAIN PATIENCE


IBBA TOP 40

INDEPENDENT BLUES

BROADCASTERS ASSOCIATION

bluesbroadcasters.co.uk

10/10

“This year’s must have blues

album.” – Powerplay

5/5

“An utterly desirable album.”

– Liverpool Sound and Vision

9.5/10

“Steve Hill is a phenomenon.”

– Maximum Volume Music

“A massively impressive

achievement.” – Blues in Britain

AVAILABLE NOW ON ALL STREAMING PLATFORMS, CD & VINYl

stevehillmusic.com

BM ISSUE 144 Dec 24

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