Hokie Joint – The Music Starts To Play (Cool Buzz).

Formed in late 2007, Hokie Joint have set themselves the task of reminding Blues fans that the guitar doesn’t have to be the main instrument. The Music Starts To Play is their second album and follows on from their 2008 debut, The Way It Goes….Sometimes. They are hard to pigeonhole, going from the Folk Country of the energetic eponymous title track to Folk Rock in the form of Force Of Habit with its Rolling Stones style chorus, Aeroplane and Apologise via the more straightforward Jackie Boy. All their songs show a penchant for storytelling and they are all originals. The Blues are never far away from t5he surface but it is the Country feel to the album that comes through most on tracks such as Bang Bang, Watch What We Eat and Remington. They have managed to get away from the guitar driven stuff and it is Giles King on harmonica who is the main driving force with Bang Bang being the standout , albeit frantic, track. There is a lot of humour on the album but they can be dark and sombre with the strangely alluring This Body Of Mine being a good example. Add gutsy vocals from Jojo Burgess and the occasional guitar interlude from Joel Fisk and you have a solid base to build a lasting future.
http://www.hokiejoint.co.uk/
http://www.coolbuzz.nl/

David Blue.

John-Alex Mason – Jook Joint Thunderclap (Naked Jaybird).

The last John-Alex Mason album that I reviewed alternated between acoustic Country Blues and urban electric Blues on a track by track basis. This time he’s gone all Seasick Steve on us. My Old Lonesome Home is a raucous opener with the harp player blowing his lungs out. Cracking stuff! Gone So Long features Cody Burnside and is a chugging swamp Blues in keeping with the standard of the rest of the album. A piece of rapping from Burnside is a surprise and the overall grit of the track could make it a candidate for a TV theme tune for a series in the vein of The Wire. More Than Wind is a slow, mournful Blues and there’s a mandolin in there now in addition to the fiddle. This will draw out emotions from you. I felt sad but strangely euphoric in parts. Burnside also guests on Riding On. Do I hear a glockenspiel in there? He’s not afraid to try things out, is he? The drummer is on the pots again. All of this is over a metronomic electric Blues with a slide guitar solo that’s a tad manic in parts. However, I don’t feel that Mason is showing his full repertoire and he’s holding back for some reason. Rolled And Tumbled is a slowed down variation on Robert Johnson’s Rolling And Tumbling with harmonica, slide guitar and bongos – it works, believe me! Diamond Rain would be some women’s idea of heaven. A fiddle is added and this makes for a more Country feel, not that I’m complaining. Signifyin’ Monkey, what’s that title all about? What the song delivers is a slow, brooding deliberate blues rock with gritty guitar and an overall hypnotic feel. The percussionist sounds as if he has got the pots and pans out on Free, which is vital and vibrant. Write Me A Few Of Your Lines will make you boogie until you drop and the guitar is like a mosquito in your ear, but in a pleasant way. Whisper is an acoustic deconstructed blues. Just guitar and voice and he can carry it too. This is superb in its starkness.
This is an album of many parts, some good, some even better.

http://www.nakedjaybirdmusic.com/
http://www.johnalexmason.com/

David Blue.

Hadden Sayers – Hard Dollar (Blue Corn Music).

Once described as Houston’s best all-around rock guitarist, Hadden Sayers has had more than the average number of troubles to overcome throughout his musical career. In 2004, he was feted by record labels but bad deals followed, along with other mishaps, and he found himself out on his own. It took a final turning of his back on music and a subsequent meeting with a retired stonemason who turned up to help on a project to rebuild an old fishing shack to get him back on track. He’s now signed with Blue Corn Music and his debut opens with the good old Texas Country Rock of Take Me Back To Texas. The sleeve notes say he was thinking of Freddie King, Joe Ely and Asleep At The Wheel but mainly about home. He keeps the Texas Country Blues but slows it down for All I Want Is You. His drawl fits in perfectly although it does make it a little derivative of the style. Stabbing guitar compliments well. Back To The Blues highlights that Sayers does not have a classic Blues voice; that lies firmly in the Country genre. However, Ruthie Foster guests and turns it into a sophisticated, glitzy Blues and there is some fine guitar playing in there too. The intriguingly named InsideOutBoogie is a straightforward Country Boogie, nothing new but has the band on good form. The offbeat Lap Of Luxury follows and has an overall Blues feel to it, much like T-Bone Walker. It lumbers along effortlessly and the seamless guitar adds a touch of fluidity. I knew that we’d get a song about a car, now all we need is one about trains or prison and we’re set. Seriously, this laconic Country tune is not out of place on the album.
Sweet Texas Girls is a slick modern Country song that will challenge those who say that they don’t like Country music and make them sit up and listen. Sayers’ drawl is evident on Crush On You, an old time Country offering with a Willie Dixon Blues bass line, which is delivered in a contemporary way. If Country and Blues could get funky then it would sound like Ain’t Comin’ ‘Round No More and some of the best guitar work, with thoughts of Hubert Sumlin, on offer makes for a bit of a highlight. Hippie Getaway brings us back to Sayers’ forte, Country Blues, and this slick one is replete with punchy guitar and a fitting tribute to Lightnin’ Hopkins. He remains in the genre for the mid-paced Burnin’ Up. He strolls his way through this one with occasional fills from guitar and harmonica along with a few Howlin’ Wolf ‘hey, hey’s’ thrown in for good measure. The penultimate track, Room 155, is a slow Blues and shows that there may well be a Blues voice in there after all. This gritty epic, written to honour Sean Costello, is over 7 minutes long but time goes by very easily with scything guitar and everything going deliberately discordant at times. He closes with MoneyShot, which almost ventures into the Jazz Blues arena and he may leave himself open to accusations of trying to put too many genres on one album. Having said that, the classic Hammond organ/guitar combo, played exquisitely, makes for an excellent instrumental finish. See if you can pick out three keyboards players here.
Is there a place in the highly competitive world of modern Country/Americana music for Hadden Sayers? I think there might just be.

http://www.haddensayers.com/
David Blue.

P-A-U-L – Tales From The Gravel (E&E Entertainment).

Think of Kiss mixed with Oasis and you might just about get the sound of The Time Of My Life. It’s all a bit frenetic but it’s a good opener. Forever Young And Free is a crisp funky rocker with a big bass line and a searing solo. Has he made a progression from his first two albums? Possibly, and he has managed to keep that raw edge. Pistol Whipped Again is a grungy Blues Rock with a sleazy vocal from PAUL. This one will grind you into the dirt and the free flowing solo is a highlight. Ghost Of Gun And Fist is a strange title but it turns out to be a simple Blues Rock with a strong solo. Piano ballads such as We Believe invariably turn up on this type of album but this isn’t PAUL’s finest vocal. However, things pick up when he isn’t singing alone but it’s all too long at just under 7 minutes. This could do with a reworking and keeping the best parts which all come towards the end.

Preachin’ Fire promises a straightforward rock approach and that’s what we get. It’s unashamedly of the fire and brimstone kind – if the Wee Frees liked rock then this would be their theme tune! The One is a rocking highlight where a number of styles come together perfectly. PAUL hits the spot and lets loose his guitar. The rhythm section (Joey Spina on bass and Layla Hall on drums) sets up Bite You with a deep bass and rolling drums. It’s like Fred Flintstone rocking out – Yabba Dabba Doo. I’m not too sure about the song but it has some of his best guitar work. The New Machine is another on the funky side. Hall throws everything at it and the verse reminds me a little of ZZ Top’s Cheap Sunglasses but don’t ask me why. Drinks Are On Me is a fast paced Rock N Roll and I’m sure I heard Glasgow mentioned in there somewhere. He tips his hat to Dr Feelgood and the slide guitar suits it very well. If Glasgow is mentioned then the title is not a good thing to broadcast – it’ll cost you a fortune!!

http://www.p-a-u-lmusic.com/
David Blue.

Eden Brent – Ain’t Got No Troubles (Yellow Dog Records).

Ain’t Got No Troubles is Eden Brent’s third album and contains eight self-penned songs. She opens with Someone To Love, which is a soulful R&B with a New Orleans feel to it. It has a good vibe and a stringent vocal. The eponymous title track, with New Orleans jazz stylings stamped all over it is the perfect vehicle for Brent’s sultry vocal. Her smokey voice takes us all the way to the end on Blues All Over and her slow, rolling piano is a highlight. Later Than You Think veers towards Jazz and has a lovely acoustic interlude whereas Right To Be Wrong is a guitar based Blues boogie and an extremely strong one at that. Leave Me Alone is another ballad and why not, as she is so good at them. Subtle horns (Tracy Griffin, Emile Hall and Jeff Albert) and organ (Jon Cleary) supplement the piano and guitar. The title says it all on Let’s Boogie Woogie. Colin Linden’s guitar and Eden’s piano join together to make for a very strong track. Her piano is to the fore again on My Man, a jaunty alehouse kind of song. The piano ballad, Beyond My Broken Dreams has a slightly contemporary Country touch. Eden’s vocal has shades of Maggie Bell and there is a lovely slide guitar break from the aforementioned Linden. The jazzy acoustic feel of If I Can’t sits beside I’m In Love With Your Wallet, which is a mid-paced piano boogie, Southern style, that is much reminiscent of Professor Longhair. I could be ungracious and say, typical woman but I’m not that kind of guy! Goodnight Moon is another piano ballad and another good song. It’s a different kind of song to the likes of Beyond My Broken Dreams and although she is a powerful singer she has the ability to soothe the soul.

http://www.edenbrent.com/
http://www.yellowdogrecords.com/

David Blue.

Gov’t Mule – Mulennium (Provogue).

This release is a live recording made at the Roxy Theatre, Atlanta, Georgia on 31/12/2009 with Bad Little Doggie opening up the 3 CD set and they give it a big build up, just like a preacher. This is a chunky blues rock and the singer has a classic rock voice – a great opener. Lay Your Burden Down has the band in a groove. It’ a grinder with excellent guitar work. Blind Man In The Dark has them raiding their back catalogue with a fuzzed vocal on this standard blues rocker. Life Before Insanity is a great title and the band slows things right down for this classy rock ballad. Larger Than Life has hypnotic drums and the vocals are holding up well. This track shows just how good a band Govt Mule is. Towering Fool is classic slow rock – moody, brooding and peppered with stinging guitar. Countdown Jam is essentially a 90 second warm up and lead into a cover of King Crimson’s 21st Century Schizoid Man. Although King Crimson covers are rare, Govt Mule stays true to the original complete with heavy vibes and fuzzed vocal. The Who’s We’re Not Gonna Take It follows and this is a great version of another song that is not often covered. A trio of covers finishes with Led Zeppelin’s Dazed And Confused, which is delivered with panache by the all Mules line up and closes the first set after 1 hour and 10 minutes.
Set 2, 1 hour and 43 minutes, is a selection of songs with blues legend Little Milton and opens with When The Blues Comes Knockin’. This classic rhythmic blues has Little Milton on vocal and his smokey tones add a little piece of class. My Dog And Me is a Chicago blues about when your woman leaves and all that’s left is the dog! The guitar will touch your soul and, when added to the heartfelt vocal, makes for a top class blues song. Lump On Your Stump continues the Little Milton collaboration and what a title that is! This bounces along very well and the message to come out of it is – don’t mess with Milton. I Can’t Quit You Baby is another classic blues song and they play it to perfection whilst their version of It Hurts Me Too is not quite as raw as those of say, Elmore James and Eric Clapton. However, it is just as good and the dual vocals works well. Milton is the man as they take on Blues Is Alright, perhaps best known to some by the Gary Moore cover, and deliver it in an authentic and vibrant style. Former member Audley Freed (also ex-Black Crowes) joins them for Is It My Body and the addition of his guitar is noticeable. They go for that fuzzed vocal again but I feel that it is not necessary this time and it slightly spoils a good track. Disc 2 ends with Power Of Soul and Freed stays on for this funky offering. It turns into a bit of a jam but when there are two excellent guitarists on show then it doesn’t really matter too much.
The final disc, which has them finishing at 03:43 am, starts with a version of The Beatles’ Helter Skelter and although it loses to the original on vocal prowess, it is as frantic and is still a class apart. Sometimes Salvation has Freed still with the band and he makes his mark on this classy, slow rocker. Robert? Adds his vocals for 30 Days In The Hole whilst Freed continues on guitar. This is vibrant and even mentions Newcastle Brown! The drummer gives it plenty on this and the guitarists swap licks effortlessly. With Freed now filling in full time as they move on to the classic rock themes of End Of The Line. The addition of slide guitar to the mix makes for a more rounded sound. Out Of The Rain takes quite a while to get going but the powerful, soulful vocal is worth waiting for. The singer turns in a great performance and the addition of steel guitar gives it a country feel. The Americana standard, I Shall Be Released, is delivered with great melody and there’s a new bassist and guitarist added. Freed is back for a brilliant take on the Lynyrd Skynyrd classic, Simple Man. This is one of my favourite songs and Govt Mule’s version is worth every one of the 15 minutes that they give us. They certainly don’t do too many short songs and you certainly get your money’s worth on this album and this is what music is all about. Having said that, they follow up with Crowd and, at less than 2 minutes long, I feel short changed!! Seriously though, this is just the sound of the crowd at the end of the gig.
This is a great introduction to the music of Govt Mule so go get it.
http://www.mule.net/
http://www.provoguerecords.com/
David Blue.

Devon Allman’s Honeytribe – Space Age Blues (Provogue)

When you see the name Allman then you know that you are in for some top guitar playing and Devon carries the family name with panache. Space Age Blues is the follow up to the highly acclaimed 2006 debut, Torch, and is a step in the right direction for Gregg’s son and his band. Could Get Dangerous shows that his voice has matured and, when added to fuzzed guitars, harmonica (from Huey Lewis) and a good dose of funk, makes for an excellent opener. The eponymous title track follows with a sultry saxophone introduction. It turns heavy quite quickly and shows both the rough and smooth sides of Honeytribe. Salvation is marked by Allman’s deep, dulcet tones and the soulful, heartfelt vibes are counterbalanced by the screeching saxophone of Ron Holloway. Stevie Wonder songs are often covered but I don’t think that I’ve ever heard anyone doing Sir Duke. So, was the decision to include this brave or foolhardy? Unfortunately, I think that it’s the latter with his voice not up to the mark and the lack of horns and minimum input from keyboards detracting from the overall feel. Endless Diamond is a grinding blues influenced rocker but although this is his forte, the guitar is too far in the background for my liking. It’s not all electric on the album as the acoustic instrumental Blue Est Le Vide shows. This showcases his intricate acoustic guitar work and they stay in the acoustic area for the follow up, Warm In Wintertime which is a bit of a strange one. It’s a rock ballad in parts but the funky lead guitar is a bit in competition with the strings in the background. New Pet Monkey is a standard rock offering but they are back on form with I’m Ready. The funky guitar and snappy drums make this a highlight. Honeytribe is ramping it up towards the finish and Take Me To The Bridge is an excellent example of funk rock. They close with Insh’Allah, Eastern influenced as you would expect from the title. This is held together by the drums of Gabriel Strange as Allman enjoys himself on this instrumental finish. There are a number of different phases to the song as he varies the tempo before the whole thing finishes on synth and goes all space-agey.

http://www.provoguerecords.com/
David Blue.

Dave Arcari – Devils Left Hand (Buzz Records).

The eponymous title track is not as manic as he has been known to be in the past. This is more deliberate and his Scots accent comes over all the more heavily. Is this a ploy to gain more fans from the less hardcore group, whilst keeping his Scottish fans? Can’t Be Satisfied is an oldie re-done. It is still edgy and you just feel that danger is just lurking beneath the surface. Controlled aggression seems to be Dave’s approach now. The sedate Devil’s Deal has Arcari’s trademark guitar and he goes off in the Robert Burns direction not for the first time on MacPherson’s Lament – Scottish blues – ye cannae whack it! Blue Train is a country/blues crossover with a guttural vocal from Arcari but he’s back to a more standard blues with the laid back Trouble In Mind and Robert Johnson’s Come On In My Kitchen. However, nothing is really standard when Dave is about and the latter gets the full Arcari treatment and this makes it so different from most of the versions of this often covered song that you’ll hear. Cotton On My Back is the type of song that Dave Arcari does so well. It’s a simple melody which is well played. Hangman’s Blues has an echoed vocal to open with but that soon fades into a full sound with the story told from two points of view. One Side Blind is another oldie and listening to some of these old Radiotones songs brings me to the conclusion that not all of them are successful as solo efforts. Perhaps a return to the band to add different levels to the music for a while and maybe a new Radiotones release would be a good idea. Texicali Waltz is a true waltz, and a quick one at that! This is inneuendo laden and more like the old Arcari although he does give us a chorus here, not something you get too often. He closes with Dragonfly and he stays in his old style, loud, brash and dangerous. This has almost prehistoric sounds and the stomping blues is an excellent finish which leaves you gasping for more.

http://www.davearcari.com/
http://www.thebuzzgroup.co.uk/

David Blue.

Dani Wilde – Shine (Ruf Records).

Shine is Dani Wilde’s second international release and features 9 self written songs alongside 2 covers. The eponymous title track opens proceedings and it almost has a Gospel feel to it. When Dani adds a gritty vocal and Will ‘Harmonica’ Wilde adds harmonica, surprisingly enough, the song flows well – renowned producer, Mike Vernon, adds percussion. Another legend, Pete Wingfield, contributes piano to Some Kinda Crazy, which is a slow, strolling blues. Dani’s guitar rings like a bell as she shares lead guitar responsibilities with Ben Poole and although she has lost a little of her youthful exuberance she has a new found maturity. She covers The Rolling Stones classic, Miss You and she is brave to do so. I always thought that it should have had a female vocal what with Jagger’s falsetto taking you most of the way there on the original. This is more than passable and captures the feel of the original with Will Wilde outstanding on harmonica. How Do You Do It is piano led (Wingfield again) and harmonies abound. This is a powerful performance from Wilde although she keeps the guitar under control. Red Blooded Woman begins with just Dani and guitar before the band joins in for a classic mid-paced blues. Dani keeps is simple and effective and this is the songs strong point.

Don’t Give Up On Me turns away from the blues. This is a soft rock ballad with a big guitar solo – standard stuff, well done. I Don’t Even Care is a blues rock tale of love gone wrong and its hard hitting message is don’t stand in this lady’s way! Abandoned Child is a classy, slow blues with strong guitar and warbling harp. It is suitably dark, given the title. Wilde’s voice has grown significantly. She plays well in conjunction with her brother Will on harp on Born To Love Him and this has been a theme throughout the album. This bouncing blues has a feel good aura. Where Blue Begins has a snappy snare, piercing guitar and its mellow R&B tones are strangely familiar although I haven’t heard the Dana Gillespie version. Big Brown Eyes is acoustic, not a direction she chooses very often, and sounds a bit Joni Mitchell. This is a beautiful song where she pours her heart out and is completely different from the rest of the tracks.

Dani Wilde has delivered a second album of some quality.

http://www.rufrecords.de/

David Blue.

Stoney Curtis Band – Cosmic Connection (Provogue Records).

The Stoney Curtis Band has honed their skills playing the clubs in Los Angeles and Las Vegas over the past 10 years. They’ve also managed to squeeze in four European tours in recent years and this has massively widened their audience. Cosmic Connection is their second album for Blues Bureau and is released on Provogue in Europe. The album contains 12 original songs and Blues And Rock N Roll is a high impact opener. This band is a classic power trio that play top class blues rock. Stoney is a top performer and with Aaron Haggerty on drums and Steve Evans on bass they all come together to produce a full sound. When The Sweet Turns To Sour is a big, ballsy Chicago blues and a joyous thing to hear. Curtis’ grizzly vocal and soaring guitar set the song up perfectly. Mouthful Of Honey is a rock styled blues in the style of The Rolling Stones and The Black Crowes. It’s good solid stuff and its classic rock stylings are easy to like. Headin’ For The City is a swinging blues played in Curtis’ inimitable style whilst Soul Flower is a high energy rocker with an electrifying solo but the vocal comes over as a little bit strained in places. Good Lovin’ Done Right is a classic electric blues, plain and simple.

Big Beautiful Women is a straightforward rocker of a high standard and Curtis shines through. Mary Jayne opens with sustained guitar as Stoney goes all heavy metal! This is high quality and a favourite of mine. Infatuation Blues is a rarity – it’s slow! I’m not too sure about this lyrically but musically it’s top notch as Stoney turns in yet another classy solo. Before The Devil Knows You’re Dead is a great title for a song and this is another in the heavy rock vein. High quality and confirms that Stoney Curtis and the band deserve to be on the Provogue label. Rise Up proves that it’s best to stick to what you are good at rather than trying too hard to be different. This blues based effort rocks along as Curtis stays in his safety zone, although he does veer into the progressive side of rock sometimes. They close with a rock ballad, The Letter, which has a good riff and an atmospheric solo but doesn’t leave me wanting more, something that I can’t say for the rest of the album.

http://www.stoneycurtisband.com/
http://www.provouguerecords.com/

David Blue.

Chris Bergson Band – Imitate The Sun (2 Shirts Records).

New York native Bergson is no newcomer, 5 previous albums and providing backing for Annie Ross and Norah Jones testify to that. He has been a jazz ambassador for the USA and touring Africa in that capacity. Imitate The Sun is the follow up to his widely acclaimed Fall Changes from 2007, which was voted Mojo’s number 1 blues album of 2008. His latest album opens with Goin’ Home, which has a Southern blues feel with CCR and even a bit of Dr Hook in there. It’s laid back, slightly spiritual and very uplifting with staccato guitar rounding the whole thing off. The eponymous title track has a slow groove and soul oozes from its very pores and he still manages to have that Southern vibe. When he throws in a powerful guitar solo then you’ve got a top track on your hands. Bergson goes all acoustic on Shattered Avenue and this Bon Jovi style rocker works very well and the gritty slide guitar is a welcome addition. Hello Bertha has horns from Kenny Rampton and Chris Karlic and Buruce Katz’s inimitable keyboards in unison to make for a soulful sound and a New Orleans vibe.

The chunky blues of Willie Dixon’s Down In The Bottom leads into the laid back acoustic sounds of Laying It Down In White. Barrelhouse piano heralds the entrance of You’ve Been A Good Old Wagon and this is so easy to listen to. Good outing for the saxophone of Jay Collins too on this John Henry song. Mr Jackson has a funky vibe and this jazzy blues has horns and electric piano setting it up for Bergson’s soul fuelled vocal. Bergson serves up a swing version of the classic Elmore James song, Dust My Broom and although it loses a bit of impact on the guitar front it still gets top marks. Bruce Katz’s barrelhouse piano is another change from the norm. He closes with Bob Dylan’s Standing In The Doorway and Bergson’s world weary voice adds passion to the heartfelt lyric. This is totally relaxing and I feel as if I’ve known him for years. It builds vocally throughout and eight and a half minutes go by extremely easily.

http://www.chrisbergson.com/

David Blue

WALTER TROUT

JUNE 2011

18th CHICHESTER Blues On The Farm, Pump Bottom Farm, Birdham Road, PO20 7EH
Stage 9pm Tkts £99 W/E £35 Day 01243 773828 www.bluesonthefarm.co.uk

19th ROSS ON WYE Linton Festival
Stage 9.15pm Tkts £60 W/E £25 DAY 0844 884 292 www.lintonfestival.org

20th CHISLEHURST The Beaverwood Club, Beaverwood Road, BR7 6HF
Doors 7pm Stage 9pm Tkts £15 020 8761 9078 www.feenstra.co.uk
Support P.A.U.L. & The Harper Woods Heroes

21st CARDIFF The Globe, 125 Albany Road, CF24 3NS
Doors 7.30pm Stage 9.15pm Tkts £16 02920 230130 www.theglobecardiff.com
Support P.A.U.L.& The Harper Woods Heroes

22nd CHATHAM No 3 Covered Slip, Mezzanine Floor, Historic Dockyard
Doors 7pm Stage 9.30pm Tkts £22 01634 823807 www.thedockyard.co.uk
Support Oli Brown

23rd HEBDEN BRIDGE Picture House, New Road, HX7 8AD
Doors 7pm Stage 8.30pm Tkts £20 0871 230 1101 www.calderdale.gov.uk
Support P.A.U.L. & The Harper Woods Heroes

24th GLASGOW The Ferry, 25 Anderson Quay, G3 8BX
Doors 7pm Stage 9.45pm Tkts £17.50 01698 360085 www.the-ferry.co.uk
Support P.A.U.L. & The Harper Woods Heroes

25th DURHAM Blues Festival, Durham University, Old Elvet, DH1 3HP
Doors 2.30pm Stage 9.30pm Tkts £24 01472 349222
www.eastcoastbluesfestivals.co.uk

26th CLEETHORPES Blues Festival, The Beachcomber, North Sea Lane, Humberston
Doors 2.30pm Stage 9.30pm Tkts £24 01472 349222
www.eastcoastbluesfestivals.co.uk

28th LIVERPOOL Stanley Theatre, 160 Mount Pleasant, L3 9PA
Doors 7pm Stage 9.10pm Tkts £18.50 0844 477 2000
Support P.A.U.L. & The Harper Woods Heroes

29th MILTON KEYNES The Stables, Stockwell Lane, Wavendon, MK17 8LU
Doors 7.30pm Stage 9pm Tkts £23 01908 280800 www.stables.org
Support P.A.U.L. & The Harper Woods Heroes

30th NOTTINGHAM Rescue Rooms, Masonic Place, Goldsmith Street, NG1 5GG
Doors 7.30pm Stage 9pm Tkts £17 0845 413 4444 www.rescuerooms.co.uk
Support P.A.U.L. & The Harper Woods Heroes

For further information, interview requests etc. contact Sue Williams, Frontier Promotions
Tel: 01760 756394 or email frontieruk@btconnect.com

Various Artists – European Blues Challenge (EBC).

This live compilation is a good way to get a feel of what is happening on the Blues scene throughout Europe. Artists from Scandinavia, East and West Europe came together in Berlin on 18th and 19th of March this year to do battle in the 1st European Blues Challenge and the standard is surprisingly high. First up is Meena from Austria, already with an album released by Ruf Records, and I Shoot You Down. This is a pounding opener with excellent slide guitar and a strong vocal. Howlin’ Bill is from Belgium and his slick blues on Six Feet Five make little impact. The guitar solo is pleasant enough but the harp solo is better received. It’s a bit too long at over 6 minutes. Swiss band Bluecerne gives us He Was A Friend Of Mine which is Hoochie Coochie Man by any other name and no anywhere near as good. It’s too smooth but the guitar work saves it slightly. Richie Arndt & The Bluenatics from Germany delivers a hi-energy Little Brother Of Mine. There is a sense of rockabilly here but they are best known in their homeland as a blues rock band. Denmark gives us Tim Lothar with In It For The Ride. Lothar’s high class acoustic slide is a memory that will outlast most on the album. The Suitcase Brothers hail from Spain and their song, Motherless Children, is from the top drawer. The mix of cello and wailing harp blends well on a suitably sombre song in keeping with the title. Micke & Lefty Featuring Chef are from Finland and the ZZ Top riff of I’m A Guitar Man sets up this raw boogie to perfection. The average slide guitar playing doesn’t detract from the overall feel. French act Awek gives us a slow stomping blues in the form of Hush Your Mouth. This almost makes it; a little bit more aggression would have done it.

T-Train Kick is the offering from Croatia’s Tomislav Goluban & LPFB. The harmonica goes like a train on this one and you can certainly hear the effort on this instrumental. The opening to the song is good and the whole lung bursting piece is better than most. Italy is represented by One Man 100% Bluez with Different End Boogie. This is a down and dirty boogie and very classy. The Latvian Blues Band is from Latvia, surprisingly, and gives us Good Bye, a slow, silky R&B that you wouldn’t expect from the Baltics. King Mo from The Netherlands gives us Ain’t Nobodies Business, an old track but with top guitar. The Norwegian entry is Vidar Busk & His True Believers and they present Stompin’ Our Feet With Joy. This is a swing blues with good harp interludes but most of all, they are just enjoying themselves. Poland’s Boogie Boys serve up an R&B jazz crossover in the form of Hey You and Emil & The Ecstatics from Sweden go the opposite and play a rhythmic blues with a tidy guitar and organ solo on Bill By Bill. The UK act, 24 Pesos, get to close the album with Live My Life and they throw in a few modern elements. There’s a bit of rapping in what really constitutes modern blues shouting and the sing-along chorus conjures up elements of Creedence Clearwater Revival.

The winner of the inaugural challenge was Howlin’ Bill from Belgium, Austria’s Meena was second and Poland’s Boogie Boys were third. My top three? Meena, Tim Lothar from Denmark and The Suitcase Brothers from Spain. Goes to show how many good acts there are here.

http://www.bluesyou.com/

David Blue.

Rob Stone – Back Around Here (Earwig Music).

A frequent visitor to Chicago’s House of Blues, Rob Stone is a harmonica player very much in the mould of his heroes. Little Walter, Big Walter Horton, Sonny Boy Williamson and Junior Wells. It’s been seven years since his last Earwig release but he has spent the time wisely, honing his craft with relentless touring. He opens with You’re No Good For Me, which is a rolling blues to start proceedings off with. Stone has an easy vocal style and this makes for an excellent opener. He is a killer harp player, ably backed by the band and, in particular, snappy guitars from Chris James and Jeff Stone. The eponymous title track is a big brassy swing blues and laid back Stone has the perfect tone for it. Slashing guitar from James for the lengthy guitar break. Love You For Myself is a slow Chicago blues with stylish interaction between Aaron Moore on piano and Stone’s harp. Give Me Time is a mid paced R&B with a great guitar riff going on in the background and a fluid solo. It’s a little different from most of the others on offer. I Need To Plant A Money Tree (don’t we all) is laid back and class just oozes out of this one. Chicago All Night is mid-pace funky R&B that reminds me a bit of Papa’s Got A Brand New Bag.

Lot To Love About You is another in the up-tempo area -- a swing blues that slides over you all too easily whereas Sloppy Drunk Blues is a bit of fun on barrelhouse piano from David Maxwell and Stone on harp. It’s Hard But It’s Fair is a strolling blues and Dragon Killers is a hi tempo lung buster. Both of these confirm how stylish a player he is. Can’t Turn Back The Clock is a high speed piano boogie with Maxwell on top form. He finishes with No Strings Attached, an up-tempo blues with more piano from Maxwell to the fore.

http://www.robstone.com/
http://www.earwigmusic.com/

David Blue.

Chris James & Patrick Rynn – Gonna Boogie Anyway (Earwig Music).

Gonna Boogie Anyway is the second album for Earwig Music from the San Diego based duo an follows their Blues Music Award nominated debut, Stop And Think About It. Traditional Chicago and Delta styles supplemented by some jump blues is what they are all about and Gonna Boogie Anyway does not disappoint. Opening with Money Don’t Like Me they lay down a gritty vocal from James and his guitar snaps from the outset. It’s a straightforward opener that gets your attention. Dearest Darling is an up-tempo and a bouncy boogie is followed by You Can’t Trust Nobody, a wonderfully deconstructed classic chugging blues. Life Couldn’t Be Sweeter is another upbeat one with slide guitar from James and barrelhouse piano from Henry Gray showing that the boys sure do know how to enjoy themselves. H.M. Stomp is a guitar and harmonica (Bob Corritore) instrumental and Gray also gets himself heavily involved on piano. The pace is relentless on this one. Headed Out West is a standard Chicago blues, well played by two true exponents.

Can’t Stand To See You Go is a shuffling blues with top notch harp from Rob Stone and piano from the aforementioned Henry Gray. The eponymous title track does what it says on the tin -- a piano boogie-woogie of high impact. This is followed by The Tables Have Turned, which is another is another that chugs along with great piano. Money Don’t Like Me Part 2 is a further instrumental, guitar led with saxophone input from Jonny Viau. It’s sedately paced but it is high in quality. The penultimate song, Black Spider Blues, is a Delta blues played in a classic style. They keep it simple and that’s the key. To close off they give us Little Girl, which is a rolling blues and good fun as well.

If you can’t have a fun time with Chris James and Patrick Rynn then you are just not trying.

http://www.chrisjamesandpatrickrynn.com/
http://www.earwigmusic.com/

David Blue.