Another Planet Music LTD. artist: Mississippi MacDonald - Do Right, Say Right - New Release Review

 I just had the opportunity to review the most recent release, Do Right, Say Right, from Mississippi MacDonald and  I really like it. Opening with easy shuffle, I Was Wrong, Mississippi MacDonald is firing on all cylinders with a great soulful voice and fat, BB King like guitar phrasing, joined by Phil Dearing on keys, Elliot Boughen on bass and Mark Johnson-Brown on drums. One of my favorite tracks on the release is funky blues, It Can't Hurt Me with it's Albert King influenced guitar riffs and MacDonalds solid vocals. Organ and horn accents throughout buy Dearing really punch up the track and aggressive bass lead by Boughen adds real bottom. Check out the tasty guitar lead on Drinker's Blues. MacDonals's fat bends and double stop accents really sets this track with strong backing vocals by Lucy Dearing. Slow Blues, If You Want A Good Cup Of Coffee is another of my favorite tracks on the release. MacDonald has a really solid voice, no taking away from that but when he knuckles down on guitar, he can really play. His trem bends and phrasing are really juicy and pinched harmonics accent nicely over the keyboard bed set by Dearing. Excellent! Keep Your Hands Out Of My Pocket is a particularly hot track with MacDonald showing that his influences are broad. With hints of T-Bone Walker, BB King, Albert King, and SRV to name only a few, MacDonald has you sitting back just riding the wave. Very nice. Wrapping the release is Your Wife Is Cheating On Us, a clever shuffle with traditional BB King formatting. With "horn" punch and keyboard backing, MacDonald uses this track as his vocal showcase and it's bound to be a crowd pleaser. His guitar riffs are stinging and his sensitivity it spot on. This is a really strong track to close a really strong release. 

  If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! -  ”LIKE”

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Auburn - Game Of Faith - New Release Review

I just had the opportunity to review the most recent release, Game of Faith, from Auburn and it's quite interesting. Opening with Game of Faith, a cool jazzy pop track with really strong vocals by Liz Lenten and clean, stylized guitar work by Thomm Jutz really make this one of my favorites on the release. Backed by Mark Fain on bass, Lynn Williams on drums and Britt Savage on backing vocals, a real nice opener. Lightly salted funky track, I Don't Love Him has a great feel and just the right amount of lead guitar. A purposeful melody and lush chords make this track an outstanding radio prospect. I really like the delicate balance between Lenten's almost fragile vocal  and the saturated tone of the electric guitar on It's Not Love. Very interesting contrast. Another track that keeps me listening is Spoke In The Wheel and Lenten's almost Toya Wilson like vocal delivery, against the glistening chords of Jutz. Wrapping the release is sensitive ballad, His Arms and Lenten's vocals balanced lightly on the acoustic guitar work of Jutz. I wouldn't say this is a traditional blues release by any means, but it is a really interesting release.

Thanks

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Silvertone/Sony artist: Joanne Shaw Taylor - Wild - New Release Review

I just had the opportunity to review the most recent release, Wild, from Joanne Shaw Taylor and it's a cool guitar fused blues release. Opening with Dyin' To Know, Taylor leads with a driving rhythm and crisp but understated lead guitar behind her solid vocals and backed by Greg Morrow on drums, Rob McNelly on guitar, Michael Rhodes on bass and Steve Nathan on keys. Ready To Roll has real swagger and Taylor's voice really shines. Backing vocals by Mahalia Barnes, Juanita Tippins and Jade MacRae give the track fullness leading up to so real nice guitar slashes by Taylor. Very cool. Get You Back is a solid country rocker in the style of the Outlaws with nicely blended backing vocals and tight guitar riffs. I really like the bent guitar chords on the opening of ballad, Wild Is The Wind. Rhodes' bass line gives the track a richer contrast to Taylor's already enticing chords and strong vocals. Very nice. Rocker, Wanna Be My Lover has the drive of the Allman's, One Way Out and the energy of the Pointer Sisters, Neutron Dance. With it's quiet nature but strong emotion, I Wish I Could Wish You Back is one of the best tracks on the release with a really warm melody, light guitar acoustic work and soft slide guitar behind the song. Excellent! With an easy swing, My Heart's Got A Mind Of It's Own, slides back and forth off the funk. Horn work by Paulie Cerra on sax and Lee Thomburg on trumpet and Barnes, Tippins and MacRae on backing vocal and Taylor's own soulful guitar make this another top track. Wrapping the release is a real nice cover of Big Brother's arrangement of classic, Summertime. I really need to give Taylor a nice bump for this track because she has a super fat lower region and she uses it nicely rather than just over singing Joplin's own vocal emotion as I have heard in other covers of this track. She does cling relatively closely to Big Brother guitarists Andrew and Gurley's melodic take but this is where the comparison begins and ends. Her vocal interpretation is unique and inspired and her guitar soloing nicely phrased. Excellent closer. 

  If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! -  ”LIKE”

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Dirk Digglers Blues Review - Cuba Neils - New Release Review

I just had the opportunity to review the most recent release, Cuba Neils, from Dirk Digglers Blues Review and it's a real kicker. Opening with Nuthin' Too Untoward, a super rocker with attitude, Darroll Wheatley has the lead on vocal and bass, backed by Mark Sweetmore on guitar, Paul Reece on keys and Aaron Gent on drums. Stinging rock riffs, usually associated with the southeastern US really give this track a hot edge. Keep Yo' Momma Down the Line has a nasty blues feel with a raw punky edge and slide guitar. I like it! Shuffle track, If You Don't Wanna Dance, maintains that edge with sounds not unlike Carl Perkins ...wound tight. Black Cat Blues settles down into a pure blues slot with Sweetmore's slide following Wheatley's vocal lead. Breaking down with a bit of funk (and some funky sax by Chris Dyer) It Ain't Fair has a real nice groove. Think "Use Me" with attitude. Very cool.  With a smokey, jazzy atmosphere, Steamroller Blues mixes blues, boogie and jazz into a laid back track with a laid back feel. Ain't No Woman follows traditional blues lines with a Latin feel and breaking into a full out shuffle but with a nice rock twist. Sweetmore, Wheatley and Reece balance nicely on Gent's rhythm and Dyers sax accents. Very cool. Wrapping the release is Go Tell Johanna, a fully blown ballad with solid vocals and melodic guitar lead. A real nice conclusion to a solid release. This may be a sleeper that you need to check out.

  If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! -  ”LIKE”

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Ruf Records artist: Laurence Jones - Take Me High - New Release Review

I just had the opportunity to review the newest release, Take Me High, from Laurence Jones and it's really hot! Opening with funky rocker, Got No Place To Go, Laurence Jones handles lead vocal and guitar nicely. With fluid guitar riffs and a super bass line by Roger Inniss this track really moves. Bob Fridzema plays a pretty handy keyboard and Phil Wilson's drum riffs are tight and demanding. Excellent! On Something's Changed, Jones blends a funky beat with a Reggae line coming up with a really terrific rocker. His guitar riffs are melodic and really nicely phrased. This is some hot shit! With a big bat swinging like a pendulum, Jones and Wilson set a basic pattern with really hot bass lines under the top by Inniss. With radio styling, this track has it's share of blues fueled guitar soloing but with modern, rock styling and snappy drum riffs. Over a basic Hendrix (All Along The Watchtower) theme, I Will is s solid ballad punched up by the Hammond work of Fridzema and smooth backing vocals by Reuben Richards. Thinking About Tomorrow has a smooth country rock feel with traces of the best of the Marshall Tucker Band (Can't You See). Easy paced lines, bounced against against Jones lead vocals make for a real nice track. Title track, Take Me High, is a complex rocker with interesting cross blending. Jones vocals are consistently clear and cool, and his guitar riffs are twangy yet punky with traces of Jimi's hammer ons. Cool! Down and Blue maintain's a blues rock format but the guitar work gets a bit more adventuresome and loose. Never losing control, this track helps to cement Jones' guitar prowess. With a light funk, The Price I Pay features Paul Jones on harmonica and a solid back beat by Inniss and Wilson. Jones plays snappy guitar riffs topping up the funky overtone and his vocals are nicely phrased. Wrapping the release is Stevie Wonder's super hit, Higher Ground. The original driving beat is maintained with only minute interruptions for guitar iteration. Jones breaks it open for a real nice guitar solo in the middle where Inniss maintains a basic blues bass line. With a bit of a change up the band double times it a few times in rock style and closes on a high spot. Very nicely done.



  If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! -  ”LIKE”

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Walklate & Fuschi - Kicking Up The Dust - New Release Review

I just received the newest release, Kicking Up The Dust, from Walklate & Fuschi and it's solid Chicago style blues. Mat Walklate and Paolo Fuschi play old style blues through old style equipment capturing a unique quality now mostly lost to modern recording techniques. On opener, Ain't No Big Deal On You, W&F bring a train style rhythm with rich vocals, rhythm guitar and charging harp soloing throughout. Excellent start. Going Sown Slow has a cool Latin beat courtesy of Fuschi on guitar with Walklate leading the way on lead vocal and harp. With fine instinctual harp playing and solid vocals, Walklate carries the lead and Fuschi's blues riffs surface for a fine solo of his own on this track. Very nice. One of my favorite tracks on the release, As Long As I Have You, shows Walklate's most expressive vocals and super harp work. With a soulful melody and a more sophisticated guitar approach, this track is super. Shuffle track, Nothing But Love, has strong Chicago roots giving the duo a super opportunity to show their chops. Walklate's harp work on this track is clean and precise with solid balance. W&F's take on Trouble No More is super with driving blues riffs by Fuschi giving the stage to Walklate for a thick vocal / harp lead. Very nice. Fat Man is an excellent showcase for Walktake's harp work with Fuschi carrying the load on rhythm guitar. Don't You Know Me has a simple R&B feel with each partner taking healthy solos. Fuschi's guitar work is clever and clear. Cool. With a 30's sound and an almost French cafe feel, Black Cat Bone is another of my favorites on the release. With some of Walklate's best vocals and nicely figured guitar work from Fuschi leading to a stylized harp solo, this track is super. Oh Babe (Sick and Tired) / Man uses basic blues fundamentals blended with Ska rhythms to create a cool take on blues classics. Wrapping the release is Money (That's What I Want). With a nice rockin' beat and Ray Charles like vocals, and modern, british bllues style guitar soloing, this is a super closer for a real cool release.

   

  If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! -  ”LIKE”

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Cleopatra Records artist: Tom Killner - Hard Road - New release review

I just received the newest release, Hard Road, from Tom Killner and it's quite good. Opening with Dallas Green's, Coming Home, a stompin' blues rocker, featuring Tom Killner om lead vocal. Nigel Killner on bass, Jake Ashrom on bass and Jesse Courts on backing vocal. I really like this track with it's Delaney & Bonnie sensuousness and southern rock swagger. Ain't No Rest For The Wicked is a stiff poke in the face of American bands trying to do real southern rock. I mean, this band does really nicely what hasn't been done since RVZ died in the fatal crash of 1977. Very cool! Showtune, Feeling Good, made popular by Nina Simone, is a temperamental track with a nice blues edge, accented by Killner's vocal and guitar style. Extended lead soloing is certainly nicely executed and rhythm guitar has great tone. Excellent! Seether track, Fake It maintains it's pop rocky feel but with tasty guitar interpretation. Red Arnall song, Cocaine Blues gets an ethereal makeover, Killner using nice guitar tones with his solid vocals to deliver the goods. I really like this track and it's simplicity. Title track, Hard Road is a strong ballad with super potential for radio play with some of the best lead vocals and strongest melody on the release. Melodic guitar solos by Killner sits nicely in the mix. Lifting Me Higher is a real basic rocker with clever guitar riffs and solid vocals. Whisky Haze has a jazzy overtone... almost a Good Rats feel. The track is light on it's feet but kicks some serious dirt when it opens up. Killner lays out some real nice guitar riffs and his gravelly vocals work really nicely. Do It Again has a real country rock swagger with it's rhythm guitar vamp and driving drum rhythm. I particularly like Killner's vocals and guitar attack on this track ... a solid rocker! Taking It's Toll takes cues from Skynyrd (Simple Man) on this track. With simple quiet guitar accompaniment with drums and bass behind his powerful vocals, Killner slowly builds this track to a stalking killer. Very nice! Wrapping the release is Midnight Call, with a lot of movement and cockiness. With wah wah blazing Killner leaves the release blazing just as he opened. Nice job!

   

  If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! -  ”LIKE”

 

The Mekons Announce Rare, Full-Band Tour

The Mekons Announce Rare, Full-Band Tour

And, additional screenings for the documentary film Revenge of The Mekons

--

“The Mekons are the most revolutionary group in the history of rock ‘n’ roll”

– legendary rock critic Lester Bangs

­--

Celebrated British musical miscreants The Mekons (https://www.bloodshotrecords.com/artist/mekons) announced they will tour select U.S. cities in July as a full band. The group will make stops in Chicago, Cleveland, Philadelphia, New York, Boston, and more during the two-plus-weeks stretch.

The genre-defying collective Mekons emerged from the 1977 British punk scene, and progressed from socialist art students with no musical skills to prolific, raucous progeny of Hank Williams. Theirs is an improbable history: a surprising and influential embrace of folk and country music, with occasional forays into the art world. The current lineup has remained intact since the mid ‘80s marked by defining releases The Mekons Rock ‘n’ Roll, Fear and Whiskey, I Love Mekons, and their most recent Ancient & Modern in 2011.

July dates for the full-band lineup can be found here: https://www.bloodshotrecords.com/tours-events/6864

7/11	The Hideout (SOLD OUT)	Chicago	IL
7/13	The Poetry Foundation	Chicago	IL
7/14	Mineral Point Opera House	Mineral Point	WI
7/16	Music Box Supper Club	Cleveland	OH
7/17	Herr Street Stage	Harrisburg	PA
7/18	Dogfish Head Brewing	Rehoboth Beach	DE
7/20	Boot & Saddle	Philadelphia	PA
7/21	Bowery Ballroom	New York	NY
7/23	Jalopy	Brooklyn	NY
7/24	3S Artspace	Portsmouth	NH
7/25	Middle East Upstairs	Cambridge	MA

For those who can’t make any of the shows, Revenge of the Mekons, a documentary about the band, is being screened at select theaters across the U.S. For more information and to watch the theatrical trailer, click here: http://www.mekonsmovie.com/Revenge_of_the_Mekons/HOME.html

Jack Bruce, Bassist for Supergroup Cream, Dead at 71

Jack Bruce, the bassist for legendary rock supergroup Cream, has died. He was 71.
Bruce's family announced his death via Facebook and the musician's official website.
"It is with great sadness that we, Jack's family, announce the passing of our beloved Jack: husband, father, granddad and all-round legend," the statement said. "The world of music will be a poorer place without him, but he lives on in his music and forever in our hearts."

See also: 45 Essential Classic Rock Anthems

Post by Jack Bruce.

The Scottish-born singer died Saturday "at his home in Suffolk surrounded by his family," publicist Claire Singers confirmed.
No further details were provided, but the Press Association reported that Bruce died of liver disease.
Bruce is best known as a member of the 1960s British band, Cream, performing alongside members Eric Clapton and Ginger Baker. Formed in 1966, Cream went on to sell 35 million albums in just two years, according to Bruce's website. The band's third album, Wheels of Fire became the first-ever platinum-selling double album. Cream split shortly after its debut in 1968, and Bruce went on to front his own bands.
"Jack felt that he had strayed too far from his ideals, and wanted to re-discover his musical and social roots," according to Bruce's website.
He returned to the studio to record his 2001 solo album Shadows in the Air, which hit no. 5 on the British jazz and blues chart.
Bruce was born to musical parents in Glasgow, Scotland, on May 14, 1943. His parents traveled extensively in Canada and the U.S., and a young Bruce attended 14 different schools. He finished his formal education at Bellahouston Academy and the Royal Scottish Academy of Music, to which he won a scholarship for cello and composition.
Bruce left Scotland at 16, and in 1962, joined his first important band, the influential Alexis Korner's Blues Inc., in London. It featured drummer Charlie Watts, who later joined The Rolling Stones.

Ben Poole - Hey Joe

After playing over 40 shows across 7 countries through the past couple of months, Ben and the band now have a few weeks off. Next show is with the full 6 piece line-up playing at the prestigious ‘Suwalki Festival’ in Poland on Friday 11th July. Gig dates throughout the UK are now confirmed in October, and Ben Poole will also be “Special Guest” of Matt Schofield on his November UK Tour. European tour being planned for February/March 2015,





If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! -  ”LIKE”

Ramsgate Kent Music artist: Nigel Egg - The Blues Is Personal - New Release review

I just received the newest release (July 1, 2014), The Blues Is Personal, from Nigel Egg. This is going to be a fairly different review that you are typically used to sweeing from me because it is quite frankly different than much of what I review. First I want to comment on the record art. The cover, which is presented here is very artsy,attention grabbing and thought provoking. A photo of Egg on the reverse shows Egg as a colorful fun loving guy. Opening with Back To The Blues the track Egg (vocal, harp and guitar) is joined by Bob Exstrand on guitar, Tom Lewis on bass, Greg Schutte on drums, Tony Balluff on clarinet, Steve Sandberg on trombone, Zack Lozier on trumpet, David Stenshoel on violin and Dale Peterson on piano. An easy going track is nicely complimented by a full accompaniment of Dixieland style instrumentation. On the Blues Is Personal, there is a light guitar solo which compliments an other wise simple pop track. On Imagining You Naked, a simple pleasant track is transformed to a vamp with the addition of a nod to The Stripper song (boom da da boom). The Truth of You And Me has simple folk characteristics and blues rudiments including some easy laid finger picking. occupy The Blues Museum has a real straight forward blues set up with a nice walking country blues guitar set up. I've Never Missed You More develops more into full pop track with keys and some cool harp. Hoo My My My! is a catchy track that could get good audience participation just based upon the playfulness of it's execution. My favorite track, Music Man, has strong ties to country blues and a particular similarity to work by Elizabeth Cotten. You Can't Have a Fan On digs a little deeper into the blues with a slower number with tasty guitar riffs and harp to boot. The release closes with Jam Til The Day I Die lays a pop track over a blues vamp. It is really an appropriate close to a different kind of release.

  If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! -  ”LIKE”

 

Joanne Shaw Taylor announces New Album and UK Tour

NOVEMBER 2014 UK TOUR
WITH SPECIAL GUEST
BERNIE MARSDEN

PLANET ROCK 48-HOUR TICKET PRE-SALE
WEDNESDAY 4th JUNE

TICKETS ON SALE TO THE GENERAL PUBLIC
AT 9am ON FRIDAY 6th JUNE

NEW STUDIO ALBUM
"THE DIRTY TRUTH"
RELEASED 22nd SEPTEMBER

British blues rock guitarist Joanne Shaw Taylor returns to UK shores with a Nationwide UK Tour in November 2014, which follows hot on the heels of her fourth new studio album, "The Dirty Truth", which is currently being recorded in Memphis.
Tickets for Joanne’s UK tour goes on sale as an exclusive 48-hour ticket pre-sale on Planet Rock radio from Wednesday 4th June.  Fans will be able to pre-order tickets 48 hours before they go on sale to the general public at 9am on Friday 6th June. Go to www.planetrock.com for further ticket pre-sale information.

All tickets are priced £17.50, except London o2 Shepherd’s Bush Empire (£20). 
VIP tickets are £50 and will include entry to sound-check, concert ticket, Meet & Greet with signing and photo opportunity, signed A3 tour poster, exclusive VIP lanyard and laminate.
The 14-date UK tour will feature former Whitesnake guitarist Bernie Marsden as special guest.
Fans will also be able to order the following versions of the new album from www.joanneshawtaylor.com :

• Signed copy of Limited Edition Digipak CD (£12.99) (including p&p)
• Ticket + signed copy of the Ltd Edition Digipak CD (£28.50), (London: £31) (including postage and packing for CD)
• VIP Ticket + Signed copy of the Limited Edition Digipak CD (£61) (including postage and packing for CD)
• The CD will be dispatched separately and will arrive on release date

Photo Credit: © Stephen Fourie

The tour kicks off at the Norwich Epic on 1st November and other UK including Sheffield, Leeds, Cardiff, Birmingham, London, Cornwall, and many more.
The new album, "The Dirty Truth", is released in the UK on Monday 22nd September on Joanne’s boutique label Axehouse Records. Joanne will be reunited with Jim Gaines who produced her 2008 debut album White Sugar.
 "I wanted to go back into the studio in Memphis with Jim to retain the same vibe that we captured on the first album," says Joanne. "The new album is a combination of rock and blues, and I think it’s going to be an exciting collaboration, and hopefully, my fans will love the rockier edge."

Photo Credit: © Stephen Fourie

The forthcoming album and UK tour follows 2013’s critically acclaimed Songs FromThe Road; a live album energized with soul power, blues savvy and rock roots.
In May 2013, when Joanne originally performed an intimate concert at London’s Borderline, The Blues magazine wrote, "Joanne slips from bursts of muscular rhythm to searing riffs rooted in the blues but not dominated by it… JST bristles with self-confidence, energy and excitement."
In 2013 during an in-depth interview, The Blues magazine asked Joanne if she was having fun playing live. "How can you not enjoy that job?" she responded. "I get on stage, turn my guitar up really loud and I shout in the microphone for two hours. It’s like the best therapy in the world."

Photo Credit: © Al Stuart

In November 2013, TV presenter Malcolm Gerrie said the following about Joanne in the Sunday Times – "Who said white gals can’t play the blues? Killer licks, soaring solos and heart-wrenching vocals."
"A Brummie blues singer? Yes, really," wrote the Sunday Telegraph about Joanne last November. "Joanne Shaw Taylor has enough soul to compete with the best the Mississippi Delta has to offer."

NOVEMBER 2014 UK TOUR
WITH SPECIAL GUEST
BERNIE MARSDEN

BOOK ONLINE: www.thegigcartel.com
24 HR BOX OFFICE: 0844 478 0898

Regional Show Tickets: £17.50
London Tickets: £20.00 / VIP Tickets: £50.00

NORWICH EPIC
Saturday 1st November
Tickets: £17.50 / Box Office: 01603 727 727
Book Online: www.thegigcartel.com
112-114 Magdalen Street, Norwich, NR3 1JD
www.epicstudiosnorwich.com

SHEFFIELD CITY HALL BALLROOM
Sunday 2nd November
Tickets: £17.50 / Box Office: 01442 789 789
Book Online: www.thegigcartel.com
Sheffield City Hall, Barkers Pool, Sheffield, S1 2JA
www.sheffieldcityhall.co.uk

LEEDS WARDROBE
Monday 3rd November
Tickets: £17.50 / Box Office: 01133 838 800
Book Online: www.thegigcartel.com
Leeds Wardrobe, St Peter's Square, Leeds, LS9 8AH
www.thewardrobe.co.uk

MANCHESTER ROYAL NORTHERN COLLEGE
OF MUSIC CONCERT HALL
Tuesday 4th November
Tickets: £17.50 / Box Office: 0161 907 5555
Book Online: www.thegigcartel.com
Manchester RNCM, 124 Oxford Road, Manchester, M13 9RD
www.rncm.ac.uk

ABERDEEN THE LEMON TREE
Thursday 6th November
Tickets: £17.50 / Box Office: 01224 337 688
Book Online: www.thegigcartel.com
Aberdeen The Lemon Tree, 5 West North Street, Aberdeen, AB24 5AT
www.aberdeenperformingarts.com

GLASGOW ARCHES
Friday 7th November
Tickets: £17.50 / Box Office: 01415 651 000
Book Online: www.thegigcartel.com
Glasgow The Arches, 253 Argyle Street, Glasgow, G2 8DL
www.thearches.co.uk

STOCKTON ARC
Saturday 8th November
Tickets: £17.50 / Box Office: 01642 525 199
Book Online: www.thegigcartel.com
Stockton Arc, Dovecot Street, Stockton On Tees, TS18 1LL
www.arconline.co.uk

EXETER CORN EXCHANGE
Wednesday 12th November
Tickets: £17.50 / Box Office: 01392 665 938
Book Online: www.thegigcartel.com
Exeter Corn Exchange, Market Street, Exeter, EX1 1BW
www.exeter.gov.uk/cornexchange

FALMOUTH PRINCESS PAVILION
Thursday 13th November
Tickets: £17.50 / Box Office: 01326 211 222
Book Online: www.thegigcartel.com
Princess Pavilion, 41 Melvill Road, Falmouth, TR11 4AR
www.tempusleisure.org.uk

SALISBURY CITY HALL
Friday 14th November
Tickets: £17.50 / Box Office: 01722 434 434
Book Online: www.thegigcartel.com
Salisbury City Hall, Malthouse Lane, Salisbury, SP2 7TU
www.cityhallsalisbury.co.uk

BIRMINGHAM TOWN HALL
Saturday 15th November
Tickets: £17.50 / Box Office: 0121 345 0600
Book Online: www.thegigcartel.com
Birmingham Town Hall, Victoria Square, Birmingham, B3 3DQ
www.thsh.co.uk

CARDIFF THE GLOBE
Tuesday 18th November
Tickets £17.50 / Box Office: 08444 780 898
Book Online: www.thegigcartel.com
Cardiff The Globe, 125 Albany Road, Cardiff, CF24 3NS
www.globecardiffmusic.com

LONDON 02 SHEPHERD’S BUSH EMPIRE
Wednesday 19th November
Tickets: £20.00 / Box Office: 0844 477 2000
Book Online: www.thegigcartel.com
London Shepherds Bush Empire, Shepherds Bush Green, London, W12 8TT
www.o2shepherdsbushempire.co.uk

BURY ST EDMUNDS THE APEX
Thursday 20th November
Tickets: £17.50 / Box Office: 01824 758 000
Book Online: www.thegigcartel.com
Bury St Edmunds The Apex, Charter Square, Bury St Edmunds, IP33 3FD
www.theapex.co.uk

Photo Credit: © Joe Armitage c/o BoneShaker Pictures

Joanne Shaw Taylor - Biography

Sold out concerts. Screaming fans. Her name in lights. Joanne Shaw Taylor never anticipated any of that at the start. Back then, she was just an ordinary Black Country schoolgirl, bored with the disposable pop she heard on late 90s radio, rifling her father’s record collection for sunken treasure, and falling for albums by Stevie Ray Vaughan, Albert Collins and Jimi Hendrix.

At 13 she played her first electric guitar. "Guitars were always lying around the house," says Joanne.  At 14, she defied her teachers to play The Marquee and Ronnie Scott’s, and began to overcome insecurity about her voice.
"I never set out to be a singer," she modestly told Classic Rock. "I’ve always had a deep voice. I think it came from my influences as a kid.
When I was singing to records, I was listening to Albert Collins and Freddie King. When I was a teenager, I became a big rock fan: Glenn Hughes, Skin, Doug Pinnick. I wouldn’t get far on The X Factor."
Joanne left school at 16 and ran straight into her big break, as a twist of fate directed her demo into the hands of Eurythmics icon Dave Stewart after a charity gig.
Reflecting on his first impressions, Stewart recalls that "she made the hairs on the back of my neck stand on end." His call the following day proved the start of a lasting friendship, with Joanne seeking his advice on the industry and accompanying his DUP supergroup across Europe in 2002.
Stewart gave Joanne her first deal, but when the label ran into financial trouble, it gave her a chance to regroup and work on her songwriting. Until then, original material had perhaps been a neglected side of her talent.
"I never really wrote songs until I was 21." Suddenly the dam broke. In 2008, Ruf won the rush for Joanne’s signature, and soon she was working with veteran producer Jim Gaines (Carlos Santana, Johnny Lang, Stevie Ray Vaughan), bassist Dave Smith and drummer Steve Potts on the songs that became debut album White Sugar. "We recorded it in this little backwater town in Tennessee," she recalls, "and if we needed a break, we’d walk to the shop and buy root beer."
When White Sugar dropped the following year, taking in gems like Bones and Kiss The Ground Goodbye, it turned out the press had a sweet tooth, with Classic Rock crowning it Blues Album Of The Month and Guitarist noting "she plays with more attitude and flair than most – massive potential here".
Soon enough, the buzz was building, with Joanne both raising her profile supporting Black Country Communion, and honing her craft on 2010’s Diamonds In The Dirt. This second album was another step up, from the explosive lead breaks on Can’t Keep LivingLike This to the heavier influence of her adopted Detroit hometown on the crunching country-blues of Dead And Gone. Not bad, considering she had written the material in just two days and recorded it in less than a fortnight: "It’s the dreaded second album curse. You have ten years to do the first one, and ten days to do the second!"
By then, she was unstoppable, with Diamonds In The Dirt proving not only a classic record, but also a skeleton key to every door in the industry. Having received a nomination for Best New Artist Debut at the auspicious British Blues Awards for White Sugar, Joanne scooped consecutive wins in the Best British Female Vocalist bracket at both the 2010/2011 events: a haul that cements her position, as Blues Matters put it, as "the new face of the blues."
Since then, it’s gone stratospheric, with Joanne breaking into the notoriously hard-to-crack US market, beating the stereotypes of her age and gender, and being watched by 17 million viewers as she played an angel-winged solo during Annie Lennox’s set at the 2012 Diamond Jubilee Concert.
That same summer gave us Almost Always Never; a bar-raising third album that found Joanne dodging expectations, writing the songs her muse dictated, and diving in at the deep end with just her talent to keep her afloat.
Recorded in Austin, Texas, these twelve cuts moved from the savage Les Paul solos of Soul Station and the strutting hooks of Standing To Fall, to the failed relationship achingly depicted on You Should Stay, I Should Go and the title track’s refrain of "You crash, you burn/you live, you learn". She’d never sounded more open and honest. "I’ve loved every album I’ve made for many different reasons," reflects Joanne. "But I’m so proud of these songs. It’s the perfect and truest example of who I am as an artist to date."
Maybe so, but if you only know Joanne Shaw Taylor as the songwriter and studio magician, then it’s time you heard Songs From The Road. Released November 2013 on Ruf Records, it’s a candid snapshot from the road that makes your front room feel like the front row. "That night was just really good fun," she reflects. "And I think that translates on the album."
In May 2014, Joanne reunited with her White Sugar album producer Jim Gaines, and recorded her new studio album in Memphis.  The new studio album entitled The Dirty Truth is a return to Joanne’s original sound that mixes rock riffs with blues influences.  The album will be released in the UK on September 22nd on Joanne’s own independent boutique label Axehouse Records.

Photo Credit: © MHP Studios

Joanne Shaw Taylor - Official Website
www.joanneshawtaylor.com

Joanne Shaw Taylor - Official Facebook
www.facebook.com/joanneshawtaylo

Ritchie Dave Porter - Down the Road

Birmingham Rock & Blues guitarist





















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Kristalyn Records artist: Barb Jungr - Hard Rain (The Songs Of Bob Dylan and Leonard Cohen) - New Release Review

I just received the newest release (March 24, 2014), Hard Rain, from Barb Jungr. Though not bluesy in the traditional sense, Jungr puts her own spin on some of the most loved music by singer / songwriters Bob Dylan and Leonard Cohen. Joined by musicians Gary Hammond, Neville Malcolm, Steve Watts, Clive Bell and Richard Olatunde Baker, Junger puts together a very serious vocal effort in the style of say Judy Collins (for Americans not familiar with her work). Up first is Blowin In The Wind which is very solemn with only flute like sounds under her vocals. Everybody Knows gets a jazzy swing feel with light percussion and piano. Who By Fire is a quiet ballad with piano. Hard Rain is juiced up but with jazz ballad roots. I can compare it to Leon Russell's take on the same track but that wouldn't be fair to either artist. But it is more similar than to Dylan's original. Actually very theatrical. First We Take Manhattan has a Joni Mitchell jazz kind of feel. I'm not comparing Jungr's voice to Mitchell but her style to that of Mitchell in her jazz period. Light vocals over similarly light piano. Masters Of War is by far my favorite track on the release with minimal piano and flute accompaniment. It just hits it square on. Very nice! It's Alright Ma kicks up the amperage with organ, piano and percussion. 1000 Kisses Deep is again particularly effective. Simply piano and vocal, Jungr is a very expressive singer. Gotta Serve Somebody is probably the farthest from the original with it's cool delivery and mostly percussive background. Land Of Plenty maintains a very solemn ballad style with keys, percussion and flute. The release is closed with Chimes of Freedom, a very solid rendition of the classic song.

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Forty Below Records Signs the Legendary Godfather of British Blues, John Mayall, and Will Release His First New Studio Album in Five Years, "A Special Life," on May 13

Forty Below Records Signs the Legendary Godfather of British Blues, John Mayall, and Will Release His First New Studio Album in Five Years, A Special Life, on May 13

Latest CD, Which Features Special Guest C. J. Chenier, Is One of John Mayall’s Finest and Most Personal Albums to Date

LOS ANGELES, CA – Forty Below Records announces the signing of the legendary “Godfather of British Blues,” John Mayall, and a May 13 release date for his first studio album in five years, A Special Life, distributed by Sony/RED. The new album was recorded in November, 2013, at Entourage Studios in North Hollywood and was produced by Mayall, with co-production, engineering and mixing by Eric Corne. A Special Life also boasts original cover art and design created by John Mayall.

The aptly-titled A Special Life serves as further testament to John Mayall’s boundless talent, vitality and ever-dynamic personality. Along with his accomplished band, he goes back to his roots on the new album with an eclectic mix of songs centered in the blues, but with diversions into rock and Americana.

Backing Mayall on the new album are Texas guitarist Rocky Athas and a Chicago-based rhythm section of Greg Rzab on bass and Jay Davenport on drums. The current band lineup came together five years ago for his last studio album, Tough, and has developed an amazing chemistry over the years through consistent touring both in the U.S. and around the world. Athas came on the recommendation of Mayall’s former guitarist Buddy Whittington, and quickly asserted himself as a major force in the band. After Rzab came onboard to play bass, he recommended Davenport for the drum spot and the group was complete.

Since 2009, the new, leaner four-piece lineup has given John more room to stretch out as an instrumentalist. After being invited to do a guest spot on Walter Trout’s latest album, John met engineer/producer Eric Corne. John was so impressed that he asked Eric to record his new album. Greg, Jay and Rocky flew in for the sessions which took less than a week to record and the end result is one of John's best albums ever, with its deep devotion to blues and roots music. Accordion legend C.J. Chenier makes a powerhouse guest appearance on a couple of tracks, including the opener, “Why Did You Go Last Night,” written and previously recorded by his father, Zydeco icon Clifton Chenier. A Special Life also includes three new songs penned by John and a reworked Mayall classic to go along with covers of Jimmy Rogers (“That’s All Right”), Albert King (“Floodin’ in California”), Sonny Landreth (“Speak of the Devil”), Jimmy McCracklin (“I Just Got to Know”) and Eddie Taylor (“Big Town Playboy”), plus a new song written by Greg Rzab and Rocky Athas.

John Mayall and his band are scheduled to start a major two-month tour of Europe in mid-February and will return to the U.S. to begin touring around the country with the album’s release, headlining major concert venues as well as performing at festivals throughout the spring and summer. John Mayall is booked by Monterey International.

John Mayall’s place in music history has been assured ever since he put together the first of his bands, known as the Bluesbreakers in 1963. Besides his own work, John also backed blues greats John Lee Hooker, T-Bone Walker and Sonny Boy Williamson on their first English club tours.

When Eric Clapton quit the Yardbirds, John quickly offered him the job as his new guitarist and the band recorded the all-time best-selling classic album, John Mayall's Bluesbreakers featuring Eric Clapton. However, by the time it was entering the charts, Clapton and bassist Jack Bruce had left to form Cream. So began a succession of future stars who would define their roots under John's leadership before leaving to form their own groups. Peter Green, John McVie and Mick Fleetwood became Fleetwood Mac. Andy Fraser formed Free, and Mick Taylor joined the Rolling Stones.

In 1969, with his popularity blossoming in the USA, John caused somewhat of a stir with the release of a drummer-less acoustic live album entitled The Turning Point, from which his song, “Room to Move,” became a rock classic. He received a gold record for this album. Attracted by the West Coast climate and culture, John then made his permanent move from England to Laurel Canyon in Los Angeles and began forming bands with American musicians. Throughout the ‘70s, John became further revered for his many jazz/rock/blues innovations featuring such notable performers as Blue Mitchell, Red Holloway, Larry Taylor and Harvey Mandel.

In 1982, John decided to re-form the original Bluesbreakers. Mick Fleetwood was unavailable at the time so John hired drummer Colin Allen to join with John McVie and Mick Taylor for a couple of tours and a video concert film entitled Blues Alive. Featured greats were Albert King, Buddy Guy, Junior Wells and Etta James. Public reaction convinced Mayall that he should honor his driving blues roots and he quickly selected his choices for a new incarnation of the Bluesbreakers. Officially launched in 1984, it included future stars in their own right, guitarists Coco Montoya and Walter Trout.

Throughout the eighties and nineties, John's popularity went from strength to strength with a succession of dynamic albums including the Grammy-nominated Wake Up Call that featured guest artists Buddy Guy, Mavis Staples, Albert Collins and Mick Taylor.

In 1993, Texas guitarist Buddy Whittington joined the Bluesbreakers and for the next ten years energized the band with his unique and fiery ideas. Making his recording debut on Mayall's Spinning Coin album, he proved to be more than equal to following in the footsteps of his illustrious predecessors. Padlock on the Blues featured a rare collaboration with his close friend John Lee Hooker. On Along for the Ride, Mayall re-teamed with a number of his former mates, including Peter Green, Mick Taylor, Mick Fleetwood and John McVie, as well as ZZ Top's Billy Gibbons, Steve Miller, Billy Preston, Steve Cropper, Otis Rush, Gary Moore, Jeff Healey and Jonny Lang. In 2002, Stories debuted on the Billboard blues chart at #1.

At a 70th Birthday celebration in aid of UNICEF in Liverpool, a concert was filmed, recorded and released as a DVD and double CD in December 2003. Along with the Bluesbreakers, it featured old friends Eric Clapton, Mick Taylor and Chris Barber. The BBC also aired an hour-long documentary on John's life and career entitled The Godfather of British Blues and to coincide with the release of Road Dogs in 2005, John was awarded an OBE by The Queen's Honours list. In the spring of 2007, John Mayall's 56th album release, In the Palace of the King, was an entire studio album that honored and paid tribute to the music of Mayall's long-time hero of the blues, Freddie King.

Over the last ten years, Mayall has additionally released live recordings on his own online label, Private Stash Records (some still available on his website). They include Time Capsule (containing historic 1957-62 live tapes), UK Tour 2K (from a 2000 British tour), Boogie Woogie Man (a selection of solo performances), Cookin' Down Under (a live DVD from Australia), No Days Off (another British live show), Live in London and Historic Live Shows.

The DTs with Steve Marriott Live in Liverpool February 1989

In an exclusive interview with the Musical Times, local blues singer, composer and harmonica player, Simon ‘Honeyboy’ Hickling, talks about the three years when legendary Small Faces & Humble Pie genius, Steve Marriott, worked with his midland’s blues band, the DTs. Three years that preceded Marriott’s untimely death by fire. The DTs, comprising of myself, Simon 'Honeyboy' Hickling on harmonica and vocals, Craig Ring on bass, Steve Walwyn on guitar and Chas Chaplin on drums, had been gigging semi-professionally for the last half of the 70s. In the 80s we went professional and gigged all over England. Consequently we found ourselves on the same bill as Steve Marriott and the Packet of Three on a number of occasions. Down on his luck Steve had come back to England from the States and was down on his luck. In America, after the collapse of Humble Pie - which had been even bigger after Frampton had left - with about four or five big albums over there - Marriott's solo career had not got off the ground. He also had a bit of personal trouble and he was in some management deal he couldn't get out of. He told me he hadn't been paid. He said he should have been a millionaire three or four times over but when he came back from the States he didn't even have a guitar - he didn't have anything at all. So he phoned up his old roadie who had a guitar under his bed that Steve had previously given him. So equipped with a guitar, and an invitation from Joe Brown, he did a few gigs with Joe Brown and his band, and then he started using some of Joe Brown's guys and doing a few gigs on his own. And then The Packet of Three was formed. The DTs and Marriott In 1986 we, the DTs, went down to see the Packet of Three and had a drink with Marriot at JBs club in Dudley. This was the first time we got talking to Marriott. We used to headline at JBs ourselves occasionally and sell out as well. We went for a drink, me, Steve Marriott and DT guitarist, Steve Walwyn. We went back to Steve's hotel until about five in the morning. A memorable evening. A session! One night we were all at the old Five Bells in Northampton. It was a big gig, a very large room and we were used to play there once a month. I'd recommended The Packet of Three as a main act, and they were there. We'd all had a drink before hand, and there was much larking around, and in the middle of our set Marriott leapt up on stage and began singing with us. Anyway after that gig, In September 1987 I rang Steve Marriott to see if he would jam with us in Leicester. I said you'll have to come to one of our gigs as a special guest down at the Shearsby Bath Hotel - a big regular gig for Leicester musicians up until about ten years when most local bands played there about once a month. It was arranged for him to do a special guest night, however, he didn't turn up there. In the end we arranged for him to gig with us at the Charlotte in Leicester. He came to the Charlotte. I picked him up at the station. He was out of his tree. He did the gig - he played great. We all went back to the holiday Inn. We were drinking all night. Everyone had a lot of laughs and everyone made a bit of money. He went home on the train. He had just left his wife and gone walkabout, so at this stage he would have been at Safron Walden, in Essex, near where he later died, in another house he had rented. Anyway I didn't hear from him for about a couple of months but apparently he fell out with his band, The Packet of Three - now called The Official Receivers. A brilliant band: bassist Jim Leverton - who had been in Humble Pie at one stage, keysman Micky Weaver, who’d played with everybody including Joe Cocker and Joe Brown, and drummer Richard Newman, son of Sound Incorporated’s drummer. Steve Marriott, now without a band, rang me up and said "Do the DTs wanna be my band?" I said, "yeah, if we can do it at weekends and then we can keep our own career going during the rest of the week, so if we just do Fridays, Saturdays and Sundays with you, the rest of the week we'll just try and keep our own gigs going 'cause we were busy." That's what we did, and we became Steve Marriott and the DTs. As singer and harmonica player of the DTs, I had no problems stepping to one side to allow Steve Marriot to come in as front man. He asked us to tour with him internationally from February 1988. Personality What was he like? Hugely talented, larger than life. He was a natural pub entertainer. He could have been in any area of show business he wanted to be in. Tell jokes, stories, reminisce, have you in stitches, sing, dance, act. He talked about his past - but with all the alcohol you never knew how much of it was true and how much of it was coloured to make it a better story. If he did exaggerate, he did it to make it funnier. He would have you in fits. And you can’t tell any story about Marriott without swearing. Article compiled & edited by Mike Clifford from an interview with Simon Hickling. From MT 27 June 1999

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Blacktop Deluxe - Stones in My Passway / Shotgun Blues

New British Blues/Rock Power Trio. Formed when Tim Chapple (Bass) and Alan Ibbotson (Drums) formerly of 'Devils Creek' joined forces with Keith Howe (Guitar and Vox) well known for his work with his previous Band Blue on Black. Rockin' The Blues.








 “Like” Bman’s Facebook page. I use Facebook to spread the word about my blog (Now with translation in over 50 languages). I will not hit you with 50 posts a day. I will not relay senseless nonsense. I use it only to draw attention to some of the key posts on my blog each day. In this way I can get out the word on new talent, venues and blues happenings! - click Here Get Facebook support for your favorite band or venue - click HERE

 

Driving Wheel - Foghat

Foghat is a British rock band that had their peak success in the 1970s. Their style can be described as "blues-rock" or boogie-rock, dominated by electric and electric slide guitar. The band has achieved 8 gold records, one platinum and one double platinum record. The band had far more success in the United States than home in Britain. Rod Price on guitar/slide guitar joined after he left the Black Cat Bones in December 1970. The new lineup was named "Foghat" (a nonsense word from a childhood game played by Peverett and his brother) in January 1971. Their 1972 album, Foghat was produced by Dave Edmunds and had a cover of Willie Dixon's "I Just Want to Make Love to You", which received much airplay, especially on FM stations. The band's second self-titled album was also known as Rock and Roll for its cover photo of a rock and a bread roll, and it went gold. Energized came out in 1974, followed by Rock and Roll Outlaws and Fool for the City in 1975, the year that Stevens left the band after objecting to their endless touring schedule. Stevens was replaced temporarily by producer Nick Jameson in 1975 when the band recorded Fool for the City. In the next year, he was replaced by Craig MacGregor and the group produced Night Shift in 1976, a live album in 1977, and Stone Blue in 1978, each reaching "gold" record sales. Fool for the City spawned the hit single "Slow Ride" (which reached number 20 on the US charts), but the greatest sales figures were for Foghat Live, which sold over 2,000,000 copies. More hits followed: "Drivin' Wheel"; "I Just Want to Make Love to You" (from the live album); "Stone Blue"; and "Third Time Lucky (The First Time I Was a Fool)". But Rod Price, unhappy with the group's still constant touring and the shift away from their hard boogie sound towards a more New Wave influenced Pop direction, left the band in November 1980. After months of auditions he was replaced by Erik Cartwright by February 1981