September 2015 - Blues in the South

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AUGUST 2015
JAZZ
JAZZ
--
BLUES
BLUES
--
ROCK
ROCK &
& ROLL
ROLL
-- ZYDECO
ZYDECO
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GOSPEL
GOSPEL
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BLUES
BLUES ROCK
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ONE FOR THE DIARY!
(Jeff Daly/Invision/AP)
(Jeff Daly/Invision/AP)
FRIDAY 2 OCTOBER
Back Porch
The Blues Duo
The Blues Issue
C Sharp Blues
Devil Drives
Kevin Brown Band
Lewis Cohen
Milly Riquelme & Tom Toomey
The Mustangs
Pete Harris R&B All Stars
The Riotous Brothers
The Riverside Blues Band
Robin Bibi Band
Will Killeen
Zoe Schwarz Blue Commotion
SATURDAY 3 OCTOBER
3 Buck Shirt
Back Porch
The Blues Duo
The Blues Issue
The Blues Machine
Blue Touch
Dan Sowerby Band
Devil Drives
Fabulous Fezheads
The Jawbreakers
Kevin Brown Band
Lewis Cohen
The Milk Men
Pete Harris R&B All Stars
The RedCrow
The Riotous Brothers
Robin Bibi Band
Sam Paine Trio
Stan’s Blues Jamboree
The Voodoo Sheiks
Will Killeen
SUNDAY 4 OCTOBER
Back Porch
Backwater Roll Blues Band
The Blues Duo
Blue Touch
Dan Sowerby Band
Devil Drives
The Jawbreakers
Kevin Brown Band
Lewis Cohen
Northsyde
Pete Harris R&B All Stars
The RedCrow
The Riverside Blues Band
Sam Paine Trio
Voodoo Sheiks
Will Killeen
BLUES GIGS: FROM EXMOUTH TO EASTBOURNE WITH A BIT MORE BESIDES - SEPTEMBER
2015
01 GWYN ASHTON @
THE MINERS ARMS, 6 MYTCHETT ROAD, MYTCHETT, CAMBERLEY, SURREY. GU16 6EZ
01 STAN'S BLUES JAM @ THE THOMAS TRIPP, 10 WICK LANE, CHRISTCHURCH BH23 1HX
03 SOUTHERN COMPANION @ THE PLATFORM TAVERN, SOTON
03 THE IDLE HANDS AT THE FARNHAM MALTINGS
04 CATFISH BLUES BAND @ THE EAGLE, ARUNDEL
04 PAUL LAMB & THE KING SNAKES @ BRIDPORT ELECTRIC PALACE, DORSET
04 DEBORAH BONHAM @ WEYFEST MUSIC FESTIVAL TILFORD SURREY,
04 TIM PAYNES PLATFROM POSSE @ THE PLATFORM TAVERN, SOTON
05 RIVERSIDE BLUES BAND @ THE CHURCHILL, 382 ASHLEY RD, PARKSTONE, POOLE BH149QD
05 ZOE SCHWARZ BLUE COMMOTION @ THE PLATFORM TAVERN, SOUTHAMPTON
06 ZOE SCHWARZ BLUE COMMOTION AT THE WALL2WALL FESTIVAL, ABERGAVENNY, S.WALES
07 BOOGIE WOOGIE CLUB @ STURMINSTER NEWTON, ROYAL BRITISH LEGION, DT10 1DU
BLUES
07 GILES HEDLEY ACOUSTIC AT SOUTH HILL PARK ARTS CENTRE
R A D IO
09 GEORGE BREAKFAST AND ASKE JACOBY @ THE PLATFORM TAVERN, SOTON
LISTIN
GS
10 PETE HARRIS, JERADINE HUME, JON VAUGHAN, @ NEWPORT FOLK CLUB, NEWPORT FUGITIVES
ATHLETICS CLUB, HIGH CROSS RD. ROGERSTONE NP10 9AD
10 JON AMOR AND JOEL FISK @ THE PLATFORM TAVERN, SOTON
10 THE PAPA GEORGE BAND @ THE FARNHAM MALTINGS
10 THE BRIXHAM BLUES SECOND THURSDAY (BBT2) @ MARITIME INN, KING STREET, BRIXHAM
11 PETE HARRIS, JERADINE HUME, JON VAUGHAN, THE PATRIOT ARMS, 6 NEW RD. CHISELDON, SWINDON SN4 0LU
11 THIS WAY UP @ THE PLATFORM TAVERN, SOTON
11 STEAMER @ THE FOREST PARK HOTEL, RHINEFIELD ROAD, BROCKENHURST SO42 7ZG - 8.30PM - 11.00PM
12 MIKE ATACK @ VIBRANT FOREST BEER FESTIVAL 2:30PM
12 PETE HARRIS, JERADINE HUME, JON VAUGHAN, THE CROWN, 2 THE SQUARE, ALDBOURNE, WILTS. SN8 2DU
12 BACK WATER ROLL @ THE PLATFORM TAVERN, SOTON
12 DEL REY, ADAM FRANKLIN AND MIKE ATACK @ MILFORD BLUES NIGHT,MILFORD COMMUNITY CENTRE.
13 CHARLIE'S VINYL AND PIE NIGHT @ THE PLATFORM TAVERN, SOTON
14 BLUES AT THE BRIDGE @ THE BRIDGE INN, TOPSHAM, OPEN MIC: ACOUSTIC ONLY. START 8.15 CLOSE 10:30. FREE
FOR ALL INCLUDING LISTENERS
16 STAN'S BLUES JAM @ THE WATERFRONT, SHAMROCK QUAY, SOUTHAMPTON SO14 5QL
17 JIM HAMMOND TRIO @ THE PLATFORM TAVERN, SOTON
17 PETE HARRIS, JERADINE HUME, JON VAUGHAN @ THE RISING SUN, SHORE RD. SOUTHAMPTON
17 BEN WATERS HOEDOWN BAND FT. DAVID LEE @ THE FARNHAM MALTINGS
18 PETE HARRIS, HUGH BUDDEN, JERADINE HUME @ THE VINE, WEST ST. HAMBLEDON, HANTS.
19 THE PETE HARRIS BLUES BAND @ THE WHEATSHEAF, BOTLEY RD. SHEDFIELD, NR. WICKHAM, HANTS.
19 KIRK FLETCHER + BACKWATER ROLL BLUES BAND @ THE 1865, SOUTHAMPTON,£12 ADV TIX. 7.30PM DOORS
25 THE PETE HARRIS BLUES BAND @ THE GROVE TAVERN, SOUTHBOURNE GROVE, BOURNEMOUTH BH6 3QS
25 PETE LEIGH AND THE UNION @ THE PLATFORM TAVERN, SOTON
25 PETE LEIGH AND THE UNION, THE PLATFORM TAVERN, TOWN QUAY, SOUTHAMPTON.
26 CATFISH BLUES BAND @ SUSSEX CRICKETER, HOVE
26 PETE HARRIS, JERADINE HUME, JON VAUGHAN @ THE ROEBUCK INN DROXFORD RD. WICKHAM PO17 5AY
26 RIVERSIDE BLUES BAND @ THE THREE TUNS BEER FESTIVAL, BRANSGORE BH23 8JH (4.15PM - 6.15PM SLOT)
26 PETE LEIGH AND THE UNION, R M A TAVERN,58 CROMWELL ROAD, EASTNEY, PORTSMOUTH, HAMPSHIRE, PO4 9PN
27 PETE HARRIS AND JERADINE HUME @ MANGO THAI TAPAS BAR, 27 PORTSWOOD RD. SOUTHAMPTON SO17 2ES 4PM.
29 BLUES FOLK JAM (OPEN MIC) @ THE PLATFORM TAVERN, SOTON
30 8:30PM - 11:00PM STAN'S BLUES JAM 2 @ THE OWL'S NEST,196 CHRISTCHURCH ROAD, WEST PARLEY, FERNDOWN,
BOURNEMOUTH BH22 8SS FREE ENTRY
Listings are provided as a guide only. Don’t forget to check the venue before you leave home to ensure that the gig is still on. The listing here is far from complete, so
check out www.bluesinthesouth.com too as that is updated all the time: LAST DATE FOR OCTOBER 2015 is 10th SEPTEMBER 2015
THE 22ND ANNUAL LIVING
BLUES AWARDS
CRITICS’ POLL
Blues Artist of the Year (Male):
B.B. King
Blues Artist of the Year (Female):
Diunna Greenleaf
New Recordings/ Best Debut:
Selwyn Birchwood, Don’t Call No
Ambulance (Alligator)
New Recordings/ Traditional &
Acoustic:
Jerron Paxton, Recorded Music For
Your Entertainment (Beaumont)
Most Outstanding Blues Singer:
Bobby Patterson
New Recordings/Contemporary Blues:
Gary Clark, Jr., Live (Warner Bros.)
Most Outstanding Musician (Guitar):
Joe Louis Walker
Historical Pre-War:
Various Artists, Peabody Blues (Nehi)
Most
Outstanding
(Harmonica):
James Cotton
Historical Post-War:
Various Artists, Classic African
American Songsters (Smithsonian/
Folkways)
Musician
Most
Outstanding
Musician
(Keyboard):
Kenny “Blues Boss” Wayne
Most Outstanding Musician (Drums):
Kenny Smith
Most Outstanding Musician (Horns):
Grady Gaines
Most Outstanding Musician (Other):
Jerry Paxton – Banjo/Fiddle
Best Live Performer:
Bobby Rush
Comeback Artist of the Year:
Shuggie Otis
Artist Deserving More Attention:
Vaneese Thomas
Best Blues Albums of 2014:
Album of the Year:
Billy Boy Arnold, Blues Soul of Billy
Boy Arnold (Stony Plain)
New Recordings/ Southern Soul:
Candi Staton, Life Happens (Beracah)
Blues Book of the Year:
Pioneers of the Blues Revival, by
Steve Cushing (Univ. of IL Press)
DVD of the Year:
Various Artists, Legendary Country
Blues Guitarists (Vestapol)
READERS’ POLL
Blues Artist of the Year (Male):
Buddy Guy
Blues Artist of the Year (Female):
Shemekia Copeland
Best Blues Album (New Release):
Elvin Bishop, Can’t Even Do Wrong
Right (Alligator)
Best Blues Album (Historical
Recording):
Johnny Winter, True to the Blues: The
Johnny
Winter
Story
(Columbia/Legacy)
Best Blues DVD:
Various Artists, A Celebration of
Blues and Soul: The 1989 Presidential
Inaugural Concert (Shout! Factory)
Best Blues Book:
Blues All Day Long: The Jimmy
Rogers Story, by Wayne Everett Goins
(Univ. of IL Press)
Most Outstanding Musician (Guitar):
Buddy Guy
Most
Outstanding
(Harmonica):
Charlie Musselwhite
Musician
Most
Outstanding
(Keyboard):
Marcia Ball
Musician
Best Live Performer:
Tab Benoit
Most Outstanding Blues Singer:
Buddy Guy
mith
The BiTS INTERVIEW: Doug MacLeod
Spo
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n so r
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en
by W
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Thanks for speaking to me. I know something of your background, and I'm intrigued by a reference – I think
on your website, which talks about your 'turbulent youth'. What does that mean?
Aah – I was abused when I was a kid, when I was a boy – sexually abused,
Oh really.
Yeah – by a man and a woman. So it was tough for me, comin' up – and then on top of that – I think what
happened in the end was that because of that situation, I acquired a stutter – I couldn't speak. I had the kind of
stutter that – you know it would be the kinda thing where you would try and say a word and then the people
that were listening to you – they would try and anticipate that word. You know
– to try and move – to pace it along.
It got to the point where I just didn't want to speak, and – I forget exactly when
it was, but I remember picking up a guitar, and wanting to at least try and sing.
And when I sang – the voice that you hear right now, was the voice that came
out. And I said – wow – I said to myself, I've got a choice here – the choice of
the voice that stutters or the voice that doesn't – and I'm taking the one that
doesn't. And that's been it since. The kind of thing that my wife once said is
'It's almost impossible to shut him up now!' So I just keep talking (Laughs).
IM: (Laughs) so when you first picked up this guitar then – what kind of
things were you trying to play and sing?
DM: Well the Blues! I'd been playing in Blues bands in St Louis as a bass
player.
IM: Oh – OK.
DM: Yeah – they were called R & B bands. We called them R & B bands. It
was a mixture of – oh – Little Milton, Lightnin' Hopkins – you know. It was a
mixture. And so to us it was R & B – and I was playing in these bands, and I
was hearing the different guys sing and hearing songs – and then one day I tried
Doug MacLeod
to sing one of those songs myself. And out came this voice!
IM: OK – and incidentally of course, I'm sure you realise that you share a
stutter with lots of great singers, not the least of which is John Lee Hooker.
Yeah – well – he almost did a song of mine. Do you know that?
Which is?
(Laughs) He almost did a song called 'Cash Talkin' – the Working Man Blues'. Albert Collins did it ...
Oh yeah – the one that Albert Collins did – yes!
Yes – well John Lee heard it first. He heard it – I was playing with my band in the little restaurant at Redondo
Beach, and on this Monday night in walks John Lee Hooker – and I said 'That looks like John Lee Hooker!'
Now there's only maybe thirty people in the place and I said 'There's no way he can be due in here – I got this
wrong.'
Then this lady comes up to me – her name was Torah Rose – she said 'Doug – there's a gentleman that wants
to meet you.' I said 'Oh OK – I'll walk over.' And she said 'Doug – this is John Lee Hooker.' I said 'No it's
not.' And (laughing) he nodded and said 'Yes' and then he – 'cause you know, he had a stutter, and he said to
me (deepens voice) 'Er d-d-doug – I r-really l-like that s-song you got there – er – er um – d-er w-w-workin'
man blues.' I said 'You like that song?' He said 'Yeah!' And he said 'Would you send it up to me?' So I made
him a cassette – you know back in those days it was cassettes.
(Pause) I never heard from him again! Never heard from him – and in the meantime Bruce Iglauer called me
and said he'd like Albert Collins to do the song - so I said all right. So I'm over at the Peer Festival in Belgium
and I see that John Lee's playing in it and I want to go up and say hello to him. So I walk up to where the door
to his dressing area was – and you know there's always a big guy out front and I say I'd like to meet him – and
he says (assertively) 'He know you?' I said 'Well I think so.' He said 'Well I'll see if he know you.' And he
goes inside (laughs) and he comes back out again and he says, 'He know you!'
(IM/DM both laugh)
(Still laughing) So I go back inside and John and I are talking for a while and then he finally says to me
(deeper voice) 'D-doug – w-w-whatever happened to that song?' I said 'You mean the Working Man Blues?'
He said 'Y-yeah – that's a g-g-g-good song.' I said 'Well – Albert Collins did it.' He said 'C-c-collins did it?' I
said 'Yes – but I sent it to you first. Why didn't you do it?' He said 'Uh – der -der – t-t-t-t too many words!'
(IM/DM laugh again)
What a lovely story!
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(Laughing) Yeah – it's a true story!
Absolutely fabulous! Tell me – I was going to ask you about this later on. What was it like having this song
recorded by Albert Collins?
Oh – (delighted) well – let me tell you! (Deep breath) Two things - first of all Albert Collins doing it –
because I remember first hearing 'Frosty' when I was in St Louis and just going (awed voice) 'Who is THAT!'
And that great bass line – right?
Yeah!
The bass and the drum – that great shuffle. So I'd always been a fan of his. And I was also a big fan of Jimmy
McGriff – the organ player. Now I didn't know this – but Albert Collins was also a big fan of Jimmy McGriff.
So when they did that song Jimmy McGriff was playing organ on it! He's the organist on that song – so to me
that was like a double treat.
I didn't know that.
Yeah – Albert Collins singing my song and playing it, then probably my
most favourite organ player in the world is playing behind Albert Collins
on my song (delighted laugh).
Well that's fabulous. One of the things that has always struck me
about that song – as a matter of fact for a long time I thought it was
the title of the song – is the line which says 'These blues is killin' me.'
(Laughs) I always thought that was the title of the song!
(Laughs) Well – it sticks out doesn't it! It does – 'these blues is killin'
me.'
It does a bit – absolutely. I gather from reading about you that you've
written – I think it's over three hundred songs – an honour – a title, if
that's the right word, that you share with Big Bill Broonzy, who we've
touched on before when you sent me that list of artists who have affected you
–
who also wrote hundreds of songs. How do you go about writing a song, Doug?
(Thoughtfully) I don't know – y'know it's the strangest thing. It just comes to me. I'm not the kind of guy that
sits down and says 'OK – in the next two hours I'm gonna write a song.' Ah – they'll come to me at the
strangest times. Sometimes I ... There's one song - an arrangement for a song might come to me, an idea for a
song – I'm a big baseball fan you know and I'll be watching a baseball game on television, in a hotel room and
pick up the guitar and here comes a song. They just never come normally. They just come whenever they
decide they want to come. That's when they knock on my door.
And how do you retain the songs? I mean – do you just remember them, or do you record them as you're
writing them, or what?
No – I record 'em. I record 'em. They're all stored at er - Man I was doing a song-writer workshop at the
MerleFest with Chris Miller and a couple of other guys I can't bring to
mind right now. But I remember Chris because Chris was in the story
that I told there. They asked me – when you get a song idea do you
record it? Just like you asked me – and I said 'Oh yeah man – you know
, the death trap is when you say 'Oh that line is too good.' It's three in the
morning, you're exhausted and tired, you want to sleep and you say
'There's no WAY I'm going to forget that line.'
(Knowingly) Oh – right.
You WILL forget that line! And the song will look at you and say 'You
don't want it? I'm goin' over to Chris. I'm gonna give it to Chris 'cos
Chris gonna wake up and take the song!' So you gotta get it when you
can. You gotta record it – otherwise it will leave you!
Lots of other writers have said to me that when they first write a song
they go out on stage to give it a first airing or something and they find it
changes when they're first playing it. Does that happen to you too?
Absolutely. Absolutely. Some of them now they're on the album – I
think back to when I first played them and I can't believe how bad they
were!
(Both laugh)
(Laughing) Really?
(Laughing a lot) Like I say – you've got have a sense of humour – you know? I mean you've got to laugh at
this stuff sometimes.
Yes, absolutely. To move back into your past for just a minute or two. Can we talk a little bit about George
'Harmonica' Smith. I'm one of those people who thinks he was certainly amongst the – if not the best
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harmonica player that Muddy ever had. Certainly up there with Paul Oscher. I think he's terrific. How did
you meet him in the first place?
Oh – how I met George. Well, we met in a place called Shakey Jake's Safari Club – you know, South central
LA. I don't know whether you know this or not, Ian, but I gave up the Blues for about nine years. I wanted to
get legit – I – I was doing it for my first wife and maybe my folks because they were upset about the kind of
lifestyle I was doing and I wanted to be legit – and I gave it up. And then when I met my current wife here, I
said I wanted to get back into Blues and she said 'Why don't you do it?' and I said 'I will – but I can't just pick
up the guitar and play for the white people,' I said 'I gotta go down to where the guys are and if they still
accept me, then I think maybe I'll give it a shot to see if I can play this music.'
So I saw Albert Collins was playing at the Whiskey a Go Go here in LA and I figured 'I'm gonna see if I can
find a way to get in, to know these people.' So the Green Room area was upstairs at the Whiskey at that time
and Shakey Jake Harris was running around – I guess he was like a meeter-greeter. I didn't know him. I
knew of him, but I didn't know him. And I said 'That looks like the Boss guy. Let me try and do a run on him.
So I went up to Shakey Jake and I go 'Shakey Jake Harris!' And he goes (high voice - impression of Shakey
Jake) 'Yeah, yeah, yeah – Shakey Jake!' and I said 'Doug MacLeod!' and he goes 'Who?' and I go 'Doug
MacLeod!' 'Doug WHO?' and I say 'Doug McLeod – St Louis. Bass player!' 'Doug MacLeod – Doug
MacLeod (feigning delight) Oh YEAH!'
(Mischievously)Well – he didn't know me!
(Laughs)
He didn't know me from Adam! It's just what a musician will do. If you're strong enough with that, a
musician will start to think 'Well I must've met this guy somewhere.' Right? So, we start up a conversation
and he says 'What are you doing here?' And I say 'Well – I'm here playing.' He says 'Do you still play bass?' I
say 'No – I play guitar now.' So he says 'Why don't you come down to my club?' And that was at 54th and
Vermont, in South Central.
And I go down on a Thursday night, start playing – and I'm playing like every week. I'm going down there for
the jam sessions and playing – and one night, I get done, planning to go over to the bar have a beer and there's
this guy sitting at the bar and he says 'Man – I really like the way you play.' I said 'Oh – thanks. You play
also?' He said 'Yeah.' I said 'What kind of guitar d'you play?' He said 'Oh – I don't play guitar.' I said 'What
d'you play?' He said 'I play harmonica.' And he reached over and said 'My name's George Harmonica
Smith.' I said 'I'm Doug MacLeod.' And that's how we met. That's how that happened.
OK – let's move on just a little bit. Actually there's something you reminded me of by talking about your bass
playing. Am I right in thinking that Denny Croy, who plays with you regularly is the guy who's married to
Lawrence Lebo?
Mm-hmm. Yes, that's right.
She's been ill recently, I gather, looking at her website.
I've got some great news for you. They just found out that a week ago – two weeks ago, that Denny's cancer
free.
Oh – right. Well that's something anyway. Wonderful!
Yes – yes ...
Let's also move back just a little bit again to your acoustic playing, because – I think it was for five or six
years, Doug, that you were nominated as the acoustic artist of the year in the Blues Foundation Blues Awards,
and every year you failed to make it – which must have been an awful experience for you, I would guess.
(Laughs) Not really. I mean you get disappointed. You hope that
maybe you'd get it but – when I won the two awards in 2014, that was
really nice. It makes up for times – but seriously, when you think about
it, now maybe because I've won two of them I can honestly say that I've
been on both sides of the fence here. You know – I've won 'em and I've
been nominated and not won 'em – I can honestly say that when you
hear folks say that when you get the nomination, that's quite an honour,
because you've got to remember – they're only nominating five people.
And that means that even if you don't win it – you're still in some pretty
good company.
Yeah, yeah – it's like an accolade itself isn't it.
I think it is! You know – I think it is. I truly do.
Well congratulations.
People say that when they don't win and a lot of folks say – well that's
so they can feel a little bit better about it, but honestly – because I've been on both sides – I really think that –
yeah – it's just as much an accolade to be nominated by them.
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Yeah. I think that the album that you made – is it called 'There's a Time'? Is that the one that was done in the
round? Where you all recorded in the same studio at the same time – into I think probably one mic or
something like that wasn't it?
(Laughs) No – there were more mics, but it was in that principal, Ian. It was that idea that – the last two
albums that at the time had been recorded exactly like this – in a circle, with no headphones, no overdubs, no
pitch control – none of that. It's just us playing the music.
Well I do have to say that from my perspective as a DJ it sounds absolutely fabulous. It's magical music. I
just love it.
Well thanks Ian – I appreciate that.
Have you got any plans to go back into the studio? It's only just very recently that 'Exactly Like This' came
out. Are you doing anything else?
Well – I'm always writing and I have the songs for the next one. But I think what's going on is that 'Exactly
Like This' is doing pretty good – so I think what they want to do is – you know – keep that going. And we'll
probably talk about doing another record towards the end of the year.
How about doing something with a band? It's a long time since you did a band record, though, isn't it?
An electric band, yeah. Yeah (thoughtfully) I don't know whether that's in the cards or not – and I never say
never ... but – ah – I don't believe that is in the cards now.
OK. And – you're constantly touring. You never seem to stop – apart from this two weeks when I've managed
to catch you when you're not moving!
(Laughs) Yeah!
Does it get to you eventually, or are you perfectly happy to do it? What's the position – how do you feel about
touring like that?
Well – I enjoy it. I figure – sometimes, just like anybody – I mean sometimes you get two hours sleep and
then you're up – or maybe you've got to drive . That makes it – you know, you're driving and that can be
wearisome on you. But I think that what we should always remember - the guys that are doing this – is that
the greatest thing is we get a chance to play our music and maybe touch people's lives – and even though
that may only be for a couple of hours, that can sure fill somebody's tanks, you know – and give you the reason
to keep on doing it.
Yes – I understand that absolutely. And of course – you fully appreciate that you've got thousands – maybe
even close to a million – fans out here in the real world, who are enthusiastic to see you and hear you all the
time.
So – what do you do when you're having a bit of spare time or a bit of down time like this? Do you still listen
to music – and practise, that kind of thing?
Yeah – just before you called I had Charlie Christian on. I was listening to some Charlie Christian and I
barbeque and I smoke. We're going to do some pork shoulders and I'm going to do some pulled pork for the
holiday – and there's chicken wings ... That's a hobby of mine – cooking –
Sounds pretty good to me.
And watching baseball. That's what I do!
Well good for you. I approve of the watching baseball bit. I don't know much about the game – as a Brit, we
don't. But I do enjoy watching it – it's very exciting on occasions, I must say.
Well thank you. I can't get how everybody says
that cricket and baseball are related.
Doug (l) with Pee Wee Crayton at Ruebens in
Oh – ain't that the truth. They're not! (Laughs) Redondo Beach CA. Sometime around 1985.
With Eric Ajaye on Bass and Marshall
There's a game that kids play in this country
Crayton on sax
called rounders. That's pretty much the same
game as baseball is – but any connection
between baseball and cricket is purely
coincidental. Hitting a ball with a bit of wood.
That's the only connection.
(Laughing) I think so too – I think so too.
Doug – you've been a professional musician for
many, many years. There must have been some
dreadful things that have happened to you.
What's the worst thing that's ever happened to
you as a professional?
(Lot of laughter) What's the worst thing that's ever happened to me in my professional career ... (pauses,
thinking)
Well the one [story] that's coming to mind – there's been a few, 'cos when I played with the old Blues guys,
you know, we played in some pretty tough places. There was one time – ah, I'll tell you one. I remember this
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one – I even wrote a story about her in Blues Review Magazine. I called it Silver Heels. This woman came
into this club I was playing with Pee Wee Crayton and she was sitting at a table – attractive girl – and this fella
came in and they started drinking and dancing and everything. And then all of a sudden this other guy came in
– maybe a half hour later and he was cussing and swearing, and the guy with the girl got up – and they squared
off – and the guy that came in took a knife out and he cut that guy. And he cut him bad so he fell – he was
holding onto his side. And then he kept on swearing at him and kicking. Then she started screaming. Then a
lot of other people started fighting – and the band, we decided we were going to get behind the amplifiers
because we didn't know if anybody had a gun or something. You know what I mean?
Yeah!
So we started to try and find some cover, while the guy kicked the guy that was with this girl. And then he ran
out the front door, while the guy that was knifed crawls over to the side door. The owner of the club comes
over – then Pee Wee calls me over to see what was going on and Pee Wee says to the club owner – he says
'Man – do you want us to stop playing – you know – call an ambulance for this guy?' and the club owner looks
up at Pee Wee and says 'This motherfucker ain't gonna die. You boys get back up there and play!'
(Both laughing) Oh dear, dear, dear! What an experience!
Yeah – I think that might have been one of the ones that come to mind right now! Yeah!
Well what follows on directly from that is – what's the best thing that you think's happened to you in your
career then?
(Suddenly serious) Two things - maybe (nostalgic sigh) the best thing was when I opened for B.B. King and
then he wanted to meet me and we spent some time together on his bus. That's
one of the biggest treats that I ever had. And right there with that would be at the
Blues Music Awards – when they called my name – for the first award. I think
those two.
That's fabulous. Absolutely fabulous. Now – for many, many years you've been a
National Resonator player. Reso-Phonic, I should say, to use their proper title. Have
you ever played a Dobro?
Yeah I did – at the BMA show I played some. I played the Beards – and of course
Scheerhorn (picture) make some. But I really prefer the National sound – I really do.
Why is that? Why does it sound different to you?
You know – there's a softer sound to a Dobro. There's a softer sound, to my ears.
Softer sound – and I like the harmonics – you might say 'complexities' of the tricones,
whether they're wood or brass – you know? I just love how they sound.
Yeah – you can certainly tell the difference between them – there's no doubt
about that at all. A tricone really does chuck out the sound too.
Doesn't it! And it's got that different kinda harmonic – it's like ... some guy
he was telling me, 'you know it's like a fine wine. It's got all these different
complexities to it,' he said. I think he's right.
And forgive me – this is getting very technical, but what kind of a slide do
you use? Lots of people these days are using ceramic – but do you stick with
glass, or what?
No – I use a brass slide. I use a John Pearse brass slide.
OK – and what gauge of strings do you use, then? Because resonators tend
to be pretty heavy.
Well – no – I'll tell you exactly the strings I use. I use D'Addario flat-tops,
medium gauge –
Really!
Yeah – the only difference is, I put a 14 on the E-string instead of a 13.
OK – that makes sense – I can see that. That would certainly work. And
what are your plans then for the immediate future? I mean what are you going to
be doing today and during the rest of this week?
Well what I'm going to be doing today is – I'm gonna go and buy some socks!
(Laughs) Good for you!
I'm going to buy some socks – and I'm gonna go and do some shopping. And then my wife and I are going to
meet our son and his new girlfriend at our favourite Mexican restaurant we've been going to for some 36 years
– and we're going to meet this gal that he's pretty much in love with.
Well that's absolutely fabulous.
Yeah – that's what we're gonna do today!
Thanks very much for speaking to me.
A pleasure talking to you, Ian. Thank you so much.
Next month's Blues In The South
A
s usual of course, the October edition will be packed with blues news, and reviews and information about
bands and blues artists appearing at venues in, and around the BiTS area. The subscribership of BiTS has
grown enormously in 2015 so it is worth reminding folks that the BiTS AREA is a slightly flexible area,
bounded roughly by the M4 to the North, extended in
an imaginary line to the East coast of England excluding
greater London, the M5 in the West and of course, the
south and east coasts in that patch, plus the Isle Of
Wight. The BiTS website has a venues page
(www.bluesinthesouth.com/venues)
If you want to add your venue please send details by
email to [email protected]
Next month’s BiTS
interview with
guitar ace Erja
profile of Al Grigg,
the South of
year.
will include an
Finnish slide
Lyytinen (picture), who will be touring the UK again in October, and a
American troubadour, who has just completed a string of gigs in Wales and
England and who is looking for venues for a similar adventure early next
R
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APPALACHIA
THE JUDGEMENT
(own label)
This English group is well-named – Appalachia [Properly pronounced Ap-al-ach-e-a, Ed] itself was the home
of old-timey music and bluegrass, the roots of the current Americana
movement which shades over into blues territory at times. You may have
heard Stompin’ Dave Allen performing this kind of music. This four-piece
outfit employs beautiful harmony vocals and utilises such traditional
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instruments as guitars, mandolin, banjo and upright bass, plus harmonica
and jug occasionally. However, unlike many bluegrass outfits, much of their
material is generally slower and more reflective than the hundred miles an
hour breakdowns most associated with it. In places it can be extremely
bluesy – listen to ‘This Train’ (and yes, it is an original, like everything else
here) with lead vocal and guitar by Danny Ward (also half of the Bristol blues duo Nobody’s Business), or
for an acoustic version of one of those 20s type of pop songs, take a listen to Doug Hamilton’s ‘Lazy Evening’
– and Doug is actually an American, from Nebraska though, not the Appalachians.. Overall though, if you
are looking for something rather thoughtful and rooted in the American folk sound, this fits the bill.
Norman Darwen
(www.appalachiamusic.co.uk)
SMALL BLUES TRAP
Time Tricks
(Anazitisi – vinyl only)
This Greek three-piece outfit have been playing their own take on the blues for around eleven years now,
and this is their fifth album. Leader Paul Karapiperis (vocals, guitars, harmonica, and percussion) tends to
go for a dark, sometimes unpredictable blues sound, aided by Panagiotis
Daras on lead and rhythm guitars, violin, percussion and vocals, and Lefteris
Besios on bass guitar. Take a listen to the opening track ‘Gamblin’’ for a
good example of the band’s distinctive approach: the gruff, dramatic vocals
and harmonica counterpoint ride a slow, riff driven slow- to mid- tempo
arrangement – there’s an ever-so slight vintage Fleetwood Mac feel to it.
Following up is the brighter 12 bar number ‘This Little Tune’ and the moody
title track. ‘I Wish I Could Fly’ is faster and slightly funk inflected with fine
instrumental breaks by guitar and harmonica, ‘A Strange Shade Of Red’ is
a curious acoustic number with a prominent plucked violin in the backing,
in contrast to the churning, almost conventional blues of ‘I’m Leavin’ This
Town’, whilst the closing number – ‘Resurrected Jesse James Returns Back
Home – From The Land Of The Dead – To Take Care Of Unpaid Matters’ (!) is pretty experimental but does
work (and ironically the band also show that they can play a straight country blues when they want to). Do
check it out if you are intrigued by what you’ve read.
Norman Darwen
(www.smallbluestrap.gr)
SALLY BARKER
LOVE RAT EP
(Old Dog Records 015)
Sally Barker’s name rang a vague bell somewhere, but then I don’t watch “The Voice” or I might have
known it better. Sally has six solo albums, occasionally fronts the outfit
Strange Blues, and works with female folk band The Poozies when not
singing to seven million people (plus Tom Jones) on the BBC. This six
track CD EP contains a range of material, from a soulful slow piano
accompanied live version of ‘Walk On By’, a couple of numbers that are
Dire Straits flavoured Americana (try the title track with its very bluesy
guitar break), a country tinged ‘Heart & Shell’ (wonderful pedal steel guitar
playing by Keith Buck) and a slow, dramatic rendition of ‘Don’t Let Me Be
Misunderstood’. Sally can sing – no doubt about that – and she is bringing
bluesy sounds to the mainstream, no mean achievement these days!
Norman Darwen
VARIOUS ARTISTS
PLEASE MR. DISC JOCKEY
(Fantastic Voyage FVTD223)
The vocal group sound has long been popular and it adapted over the years from the likes of The Ink Spots
and The Mills Brothers, and the “jubilee” style of sacred music purveyed by the well-known Golden Gate
Quartet and others before the Second World War. This triple CD collection
follows the groups of the New York-based Atlantic label and its
subsidiaries between 1951 and 1962, and whilst there are some echoes
of those pioneers in the earliest recordings, many of these titles show the
influence of jump blues and R&B, rock and roll, and on to the “beat
concerto” sound of The Drifters in the early 60s and the proto-soul music
of The Falcons and The Isley Brothers. Oddly enough - or maybe not too
oddly as he had several rock and roll hits for Atlantic - several numbers
here remind me of blues shouter Big Joe Turner; try ‘Love Bug’ by The
Clovers, an always bluesy group, and if you only know The Drifters from
their hits in the UK charts, lend an ear to ‘Money Honey’, ‘Three Thirty
Three’, or ‘Ruby Baby’. There are some of those ballads that are often
associated with doo-wop, but overall the sound on this set is quite upbeat, and as such, this mixture of wellknown groups (I’ve not yet mentioned The Coasters or The Hollywood Flames) and more obscure outfits
like The Top Notes or The Superiors is warmly recommended.
Norman Darwen
BILLY WALTON BAND
WISH FOR WHAT YOU WANT
No Fret/Vizztone Records: VTNF005
www.billywaltonband.com
The Billy Walton Band is one of those outfits with an East Coast US pedigree. From Jersey, the home of
some wonderful music for sure, Walton leads his five-piece crew with
some classic sounding blues-soul and a blend of hot, peppery music
including that splendid soulful sound of ripping Sax and Trombone brass.
Walton himself plays a mean guitar, with tasteful licks scattered
generously throughout this 12-track release. His voice is rich, robust and
rolls the whole thing along with an effortless strength and fluidity. This is
a well-rehearsed, road-tested band that has successfully toured
extensively in UK, Europe and the USA. 'Wish For What You Want' is the
band's fifth album and has a well-crafted, seamless maturity that speaks
volumes about the quality of the musicianship and the professionalism
and experience this band clearly represent.
This is an album that roars along at times with a swaggering rock roar that gives way to soulful horns and
vibrant vocal threads. Each track slips readily into its place; powerful, pulsing, pushing forward and leading
listeners by the ears towards a masterfully produced musical feast. Walton is a guy worth catching and with
this offering is bound to reach higher ground sometime soon.
Iain Patience
WILY BO WALKER & E D BRAYSHAW
STONE COLD BEAUTIFUL
Mescal Canyon Records: MCREX 020
www.wilybo.com
This is a six-track EP from a decidedly powerful and strong Scottish singer-songwriter, Wily Bo Walker.
Now London-based, Walker is noted for his swaggering stage
performance and the diversity of musical styles he covers. With this
album he teams up with guitarist Brayshaw, to present the second of
a planned three-disc set with all tracks penned by Walker and
delivered with enormous purpose and strength.
Stone Cold Beautiful is not a release that can be simply pushed into
any single genre or musical box; it crosses lines embracing blues,
rock, soul, swampy alternative modern styles and should come with
a health warning, especially when played full-tilt at high volume when it's really at its best.
Guest vocalist, Karena K brings her usual deft touch and style to the
table here, as she did on Walker's previous outing. She is clearly a
gal who sings with both heart and pure passion and adds a surefired soulful touch to the overall production.
Brayshaw's fretwork is always tasteful, torrid and demanding, with
riffs and runs pouring from his fingers and driving the tracks along
with an element of genuine raw emotion and energy. Walker is currently working on the final part of this
planned musical trilogy and expects to have it out on release later this year. On the basis of this EP and his
previous release with Karena K, 'A Long Way From Heaven', it should be well worth catching.
Iain Patience
BRAD ABSHER & SWAMP ROYALE
LUCKY DOG
Montrose Records
With about half a dozen albums under his belt, this guy is no newcomer. Based in Texas, he was raised in
LA and carries traces of that sweet West Coast sound with him in the mix.
But with one of his greatest acknowledged influences being Ry Cooder
and his slide work, Absher gives the West Coast a gritty, swirling slide
echo that lifts the music and takes it to a much better place. Half of the
twelve tracks included here are self-written by Absher and the remainder
include strong, gripping takes from Bill Withers - Same Love - Leon
Russell's Rather Be Blind, and Lipstick Traces from veteran southerner
Allen Toussaint. A glorious version of the old standard traditional bluesgospel anthem Jesus On The Mainline is also squeezed in to full effect.
This is a very good release, full of funky down-dirty blues with more than a
hint of old-fashioned simpering soul at its core. Absher is clearly a mighty
fine guitarist and his slide work emerges triumphantly from time to time
giving the album a real catchy, slippery feel when needed. His band,
Swamp Royale, includes the big Hammond sound merged with Sax, Bass, Drums and Pedal Steel. The
resulting groove is top notch with each musician and instrument neatly pared down and skilfully slotted into
the whole so that Absher's picking and voice can lead from the front without the threat of being
overpowered at any time. This is easily a recommended release, worth checking out and full of strikingly
good old Devil's music.
Iain Patience
www.bradabsher.com
MARTIN MCNEILL
Lately I’ve Let Things Slide
Autoprod
www.martinmcneill.co.uk
Martin McNeil hails from the east of England near Southend -On-Sea and is a stalwart of the blues scene in
that area. The punning title of the album betrays both its content and
Martins abiding love of all things ‘slide’. He even has named his band
Bottleneck Blues.
In short this is a terrific album and an excellent show case for Martin’s
outstanding slide talent.
There are twelve tracks on the album. Only one of them is an original, but
don’t let that put you off. The covers are reworked pieces with an original
spin to each. They range from Fred McDowell’s You Gotta Move a tune
which must have dozens if not hundreds of covers, to Keb Mo’s Keep It
Simple. Martin manages to make both sound delightfully original. The
same is true of On The Road Again (Canned Heat) which here is nicely
delivered with out that falsetto delivery of the original. Goin’ Down South
is an RL Burnside original with a nice bit of reverb added to the guitar
part. Worth mentioning here the outstanding production of the CD.
Recorded by Jon Webber at JWS Studios the acoustic guitars are given a BIG sound with a lot of depth
and the vocals are with out exception nicely balanced. The instrumental Pickin’ The Blues is an excellent
workout, for me, because of its Hawaiian sound, coming as a reminder of the outstanding work of the late
Bob Brozman. The only original is Mad With Me and is a delightful song with a kind of John Lee vibe,
wonderful stuff. This one is British blues at its best. Go for it!!
Ian McKenzie
SHEMEKIA COPELAND
Outskirts Of Love
Alligator Records (Release September 11, 2015)
Shemekia Copeland is the daughter of the late Johnny ‘Clyde’ Copeland who passed away in 1997.
Shemekia (pronounced Shemeka) has taken on both his mantle and that
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of Koko Taylor when she was presented with Taylor’s crown by Koko’s
daughter, Cookie, on June 12, 2011 at the Chicago Blues Festival and
given the honour of the new “Queen of the Blues” by official proclamation
of the City of Chicago and the State of Illinois. Her last album 33¹∕� was at
the top of the RMR (radio plays) Chart for 4 consecutive months in
2012/13. Recently Shemekia was selected Blues Artist of the Year
(Female) in the Living Blues Magazine 2015 Readers Poll. 33¹∕� was a
superb record but this one IMHO, is even better.
She has expressed a desire to continue her growth as as a performer and
this album certainly does that. The gamut runs through straight blues, to
country tinged music, through a bit of (nearly) gospel, all done with
panache and fire. The title track, sees her in a rocking stadium pleaser
mode, Devils Hand is one of her father’s songs. Cardboard Box is a biting
examination of homelessness and Drivin' Out Of Nashville (as you might
expect) is a country tinged work out . I Feel A Sin Coming On is a cover of a Solomon Burke song and we
also get, Jesse Winchester’s, Isn't That So, Brownie McGhee & Sonny Terry’s The Battle Is Over, as well
as ZZ Top’s Jesus Just Left Chicago, Guests include including Billy Gibbons, Robert Randolph, Alvin
Youngblood Hart, Will Kimbrough and Pete Finney. All In all another award winning outing for Ms
Copeland.
Ian McKenzie
BUDDY GUY
Born To Play Guitar
Sony Music Cmg
Buddy Guy is 79 years old and except for a slight change in the tone of his voice, you would never know. It
is a strange coincidence that both this album (produced by Tom
Hambridge) and that of Shemekia Copeland (above) arrived at the same
time, for they are BOTH award winners. Unusually in my experience, the
title track is the opener and it is a masterpiece, with the first verse (I was
born in Louisiana and my mama told my poppa, “That boy got the blues”)
just BG and his guitar sounding like raw country blues, before the band
joins in. It is make-your-neck-hairs-stand-up good.
Buddy is joined by some ‘friends’. Kim Wilson on two tracks Kiss Me
Quick and Too Late, the latter and up-tempo work out with a thudding
rhythm section coming on like a 1960s rock ‘n’ roll band. These two
tracks remind me a lot of Buddy’s old with with Junior Wells, Wear you
out features Buddy trading vocals and guitar licks with Billy Gibbons
(another link with Shemekia). Deffo the rocky end of the blues.
The weakest track on the album is (Baby) You Got What It Takes
(original Dinah Washington and Brook Benton) in which some what creepily, Buddy (79) is joined by Joss
Stone (28), (a legend in her own mind) the latter singing lines like, “… it takes two hearts a-cookin' to make
a fire grow” and “You know, it takes a lot of kissin' to make a romance sweet.” (uggh!).
More on-track is the essentially acoustic,“Come Back Muddy” “My mind s going back to the good old times
when me an’ Muddy Waters was playing blues and drinkin’ wine. Come back Muddy, I sure do miss your
face. Come back Muddy, lord knows, you can’t never be replaced”. What a fabulous lyric!
Very strongly recommended. IMHO, A bunch of awards for this one!
Ian McKenzie
ESSENTIALS: ALL THE STUFF YOU NEED TO KNOW
UKBLUES: A NEW FEDERATION TO REPRESENT UK BLUES AND LEAD ON THE UK ENTRY TO THE EUROPEAN BLUES
CHALLENGE
UKBlues is a new organisation, one that is already an active Member of the European Blues Union (EBU). The EBU promotes Blues music,
in all its forms, supporting the many long standing efforts of musicians, organisations, associations, venues, companies, and individuals in
Europe. UKBlues is taking on that role for the UK and working with the EBU and
stakeholders worldwide in the interests of British Blues music. Our work is approved by
our patrons, British Blues legends Paul Jones and Mike Vernon.
The Blues and Blues in the UK
The Blues is a historic, significant and timeless art form, and one with a lively contemporary
scene. It is a form of music which, whilst always respecting its African American roots, now
enjoys a world wide profile and an increasingly interconnected community spanning venues,
festivals, media and more. British Blues has long enjoyed a foremost place in the world of
music dating back to the British Blues Explosion in the 1960s
UKBlues – what we will do
It is the goal of UKBlues to build upon this profile and legacy to the benefit of all. Our
ongoing activities to this end will be many and varied. We believe greater co-operation and
interaction between stakeholders both here and abroad will facilitate, amongst many other
things, greater opportunities for artists and bands internationally, not least in terms of airplay
and gig/festival outreach. We also aim, through our website and newsletters and other
communications, to be an important information resource.
6th European Blues Challenge
One immediate priority, within these broader aims, is the 6th European Blues Challenge
(EBC) organised by the EBU, and which will take place in Torrita di Siena, Italy on 7-8-9th April 2016. UKBlues is honoured and delighted
to be appointed by the EBU to operate the selection process for the UK, the UK Blues Challenge.
The UK Blues Challenge
A selection panel has been created by UKBlues formed of nearly 200 musicians, writers, promoters, venues, festivals, radio presenters,
PR/promotions, agents, record labels, and fans, including all UK Active Members of the EBU and representatives of the UK’s previous EBC
contestants. Each member of the panel has been asked to nominate three suitable artists and bands for the challenge as the first stage of
the selection process. They have been asked to place their three selections in order (first, second, third) and UKBlues will award points
according to the position in which the acts are placed.
This first stage of the selection process closed on 21st August. Soon, the top four
acts will be invited to take part in the second UK Blues Challenge which is being jointly
promoted by EBU Active Member Pete Feenstra and UKBlues and which will take
place on Saturday 24th October 2015 at the Boom Boom Club in Sutton in front of a
panel of judges drawn from within the blues community, but who, for obvious reasons,
will remain confidential until after the Challenge.
The panel of judges will be selected by UKBlues and Pete Feenstra, the
co-promoter, and they will use the same criteria to award points to the contestants
as is used at the EBC. The winner will be invited to represent the UK at the EBC in
2016.
The voting is confidential and safeguards have been put in place to ensure that
there can be no unauthorised or multiple voting and the members of the selection
panel have been asked not to nominate any acts with whom they are involved.
The process being operated by UKBlues has been fully disclosed to and approved
by the board of the EBU, who are happy that it is transparent and maintains the
required integrity for the EBC.
More information
See our website: ukblues.org.
Facebook: www.facebook.com/pages/UK-Blues
Twitter: https://twitter.com/UKBluesFed
Contact Chairman – Ashwyn Smyth (picture) [email protected]. Or Darren Weale 07708 712011
On Monday August 3, South African On Monday August 3, singer-songwriter and guitarist Dan Patlansky released his new single
“Fetch Your Spade”, the second single taken from his critically acclaimed album Dear Silence Thieves.
Dan Patlansky; “Fetch Your Spade”- Official Video
JOE SATRIANI ON TOUR WITH SPECIAL GUEST DAN PATLANSKY
Manchester 02 Apollo
Sunday November 1
Birmingham Symphony Hall
Monday November 2
Glasgow Royal Concert Hall
Tuesday November 3
Sheffield City Hall
Wednesday November 4
Cardiff St. David’s Hall
Thursday November 5
Southend Cliffs Pavilion
Saturday November 7
Bristol Colston Hall
Sunday November 8
Portsmouth Guildhall
Monday November 9
London Eventim Hammersmith Apollo
Tuesday November 10
PAUL LAMB & THE KING SNAKES LAUNCH MONTHLY BLUES NIGHT AT BRIDPORT ELECTRIC PALACE
Paul Lamb & the King Snakes bring mind blowing energy and electrifying stage presence to every show.
And they’re appearing at Bridport Electric Palace on Friday 4 September to launch the venue’s monthly Blues Night, which will be
held on the first Friday of the month.
Tickets cost just £10.50 (£10 + 50p booking fee) in advance from the Electric Palace Box Office or Bridport TIC or £12 on the door.
Paul Lamb is the undisputed master of the harmonica, with Mark Knopfler of
Dire Straits saying ‘this is blues harp as good as it gets’.
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Paul’s spent the last thirty-something years whoopin’ and hollerin’ in clubs in
his native North-East plus a later move to London, in concert and on festival
stages, creating a personal synthesis of his harmonica heroes and his own
unique and innate talent.
He’s represented Britain in the World Harmonica Championships, working with
his particular mentor, Sonny Terry, and with any number of other blues artists
who’ve visited these shores.
Over the years Paul Lamb & the King Snakes have won countless awards, sold
record breaking quantities of albums and been inducted into the British Blues
Awards Hall of Fame alongside the likes of Peter Green & John Mayall.
There’s a great deal of experience behind vocalist and rhythm guitarist Chad Strentz, too. He started out as a rockabilly hound,
encouraged by the wilder excesses of Gene Vincent, Johnny Burnette and Mac Curtis, with some Elvis and Little Richard in there
for extra relish.
“You just have to stand back and admire the sheer brilliance of their musicianship.” Blues & Rhythm Magazine
Tickets through Electric Palace Box Office (open Tues–Sat, 10am- 4pm) 01308 428354
Bridport TIC (open Mon-Sat 10am-3pm) on 01308 424901 or online through Seetickets.com
FLOYD HIT THE WALL
By Lars Brandle [Billboard] | August 14, 2015
David Gilmour has confirmed what many of us already knew but didn’t want to believe: Pink Floyd is finished.
Only an eternally (foolish) optimist would have bet on Pink Floyd reuniting for another round. When the veteran
British outfit released The Endless River last year, the band's first record since 1994's The Division Bell, Gilmour said
it would the band’s last. Now the legendary guitarist has told Classic Rock magazine it’s definitely all over for the
prog-rock titans.
"I'm done with it. I've had 48 years in Pink Floyd -- quite a few of those years at the beginning, with Roger (Waters),"
he says in the music title’s cover story. "And those years in what is now considered to be our heyday were 95 per cent
musically fulfilling and joyous and full of fun and laughter. And I certainly don't want to let the other five per cent
color my view of what was a long and fantastic time together. But it has run its course, we are done - and it would be
fakery to go back and do it again."
If the sad truth is only just sinking in for some of the group’s fans, purists knew Pink Floyd was bound to hit the wall.
Keyboardist Rick Wright passed away in 2008, the band’s iconic founding front man Syd Barrett (the man Gilmour
was recruited to eventually replace) died in 2006 .The surviving members
have a turbulent relationship with Waters.
When Gilmour spoke with the BBC prior to the release of The Endless
River, he said: "Well, Rick is gone. This is the last thing that’ll be out from
us,” adding, "I’m pretty certain there will not be any follow up to this. And
Polly, my wife, thought that [final song "Louder Than Words"] would be a
very good lyrical idea to go out on. A way of describing the symbiosis that
we have. Or had.”
'The Endless River' Will Be Pink Floyd's Final Album
Gilmour reiterated those sentiments in his latest interview. "To do it
without Rick would just be wrong. I absolutely don't want to go back” He
added. “I don't want to go and play stadiums... under the [Pink Floyd]
banner. I'm free to do exactly what I want to do and how I want to do it. Obviously I accept there are people who want
to go and see and hear this legend that was Pink Floyd, but I'm afraid that's not my responsibility."
Floyd, he noted, is "just a pop group. I don't need it. I don't need to go there. I'm not being coy or difficult -- I just
think that at my age I should do whatever I really want to do in life."
And with that, the 69-year-old is doing what he wants at this stage -- going solo. Gilmour’s new album Rattle That
Lock had a worldwide release on Sept. 18, and Gilmour will enjoy a tour with a bunch of rare North America shows
early next year.
Below is the IBBA air-play chart for JULY 2014 produced by Dave
Raven for the Independent Blues Broadcasters Association and which
is based on the air-play choices of the albums by members on their
shows. Congratulations to all the artists who have ‘charted’ ths month
with special mention for American now resident in the UK GUY
TORTORA for topping the poll, to Dave Hunt for his continued success,
and to Mike Vernon for his successful assault on the blues scene.
POSITION - ARTIST - ALBUM 1
GUY TORTORA -BLUESMAN IN A BONEYARD
2
ROB BERRY -BLUES N BOXES
3
DAVE HUNT -WHISKEY & DEMONS
4
BIG DADDY WILSON -TIME
5
THE DOVE AND BOWEEVIL BAND - THIS LIFE
6
MIKE VERNON Y LOS GARCIA -JUST A LITTLE BIT
BLUES ENGINE -THE QUICK AND THE DIRTY
8
JOHN PRIMER & FRIENDS -MUDDY WATERS 100
9
KENTUCKY HEADHUNTERS WITH JOHNNIE JOHNSON - MEET ME IN
BLUESLAND
SEAN TAYLOR -THE ONLY GOOD ADDICTION IS LOVE
11 BUDDY GUY -BORN TO PLAY GUITAR
12 PHILLIPP FANKHAUSER -HOME
ZKYE BLUE -LIVE AT MIXMASTERS
14 THE LACHY DOLEY GROUP -CONVICTION
JARED JAMES NICHOLS -OLD GLORY AND THE WILD REVIVAL
16 MICKE BJORKLOF & BLUE STRIP -AIN'T BAD YET
MARTIN MC NEILL -LATELY I'VE LET THINGS SLIDE
18 JESSE DAVEY -BIG BLUES
ROYAL SOUTHERN BROTHERHOOD -DON'T LOOK BACK
KING ROLLO -EASY STREET
JOHN GINTY/REDMAN -NO FILTER
CATFISH -SO MANY ROADS
23 CANNED HEAT -SONGS FROM THE ROAD
JC CROSSFIRE W MATT MURPHY -AWOL BLUES
MITCH MANN -BLACKWATER CREEK
ANGELA LEWIS BROWNFACE THE MUSIC
THE IDLE HANDS -FEEDING THE MACHINE
MALAYA BLUE -HOPE (SINGLE)
THE MIGHTY MOJOS -MOJO RISING
THE MENTULLS -REFLECTIONS
DAVID MICHAEL MILLER -SAME SOIL
JON CEE STANNARD & BLUES HORIZON -STONE COLD SOBER
SAM LEWIS -WAITING ON YOU
SAMANTHA FISH -WILD HEART
The IBBA Picks for
September 2015
are:
John Primer and
Friends - Muddy
Waters 100
Jon Cleary - GoGo
Juice
This Life - Dove and
Boweevil
Martin Harley &
Daniel Kimbro - Live at
Southern Ground
A video from Rev Shawn Amos’ New CD
Jo-Ann Kelly at The Albert Hole Bristol 5th May 1989 w. Paul Godden
CLICK ANY OF THE PICS
ON THE LEFT AND YOU
WILL BE TAKEN TO
YOUTUBE FOR A GREAT
VIDEO TREAT.
JOSH WHITE: LIVE IN SWEEDEN 1963 (TV SHOW 30+ MINUTES)
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DANNY GATTON - MISTERY TRAIN, THATS ALLRIGHT MAMA, MY BABY LEFT ME
ERJA LYYTINEN: THE SKY IS CRYING
Blues in the South
Is proud to support
Kansas City Online Radio
(KCOR)
Blues Radio 24/7/365
Blues Rock And Cool Talk
Check out
The Acoustic Blues Club
on
Monday at 10pm UK time
Blues music the way it should be
C:\Users\Ian\Pi...\kcor-logo.png
heard!