bluesinthenorthwest.com

The evening session got under way on the main stage with a rousing uptempo RnB blast from The Dirty Robbers, led by ex-Cadillac Kings guitarist Oliver Darling - also to be seen in Mike Sanchez’s band, and in the absence of keyboards, the superb Paul Garner on second guitar - also to have graced The Cadillac Kings guitar slot, together with the rhythm section of Craig Rhind (bass) and Matt Cowley (drums). A spirited hour featured mainly tunes from their first album, kicking off with “Ain’t Nothin’ Shakin’ “, and Richard Berry’s oft-covered “Have Love Will Travel”, with a dip into some classic Peter Green for “Watch Out”, from the “Blues Jam in Chicago” album . . . a set highlight. The eloquently titled “Lemon Squeezer” was a taster from the forthcoming second album, with more dips into the first album for a corking “Lonesome Woman Blues” and “Mary Lou”.

Either side of The Producers, Naomi Mather and Rory Ellis played second sets . . . not much to add to Lionel’s fine words, just to echo his sentiments really. Naomi Mather is a real talent, a product of the Liverpool Institute of Performing Arts, and she possesses a quite beautiful voice, and is a deft guitar picker and slide player, her “Born At The Wrong Time” EP comes highly recommended, with the second set featuring a reprise of the strutting “Can’t Do Nothing”. Ashamedly I must admit to not having heard of Rory Ellis before the festival… Wow!, he was without doubt most people’s star of the day! Coming across as a Melbourne hybrid of Johnny Cash, Steve Earle and Tom Russell, his rootsy tales of childhood, politics and more were just superb, with his strumming guitar and banjo work beautifully fleshed out by Alex Roberts more intricate guitar and lap slide - this guy having driven six hours from Poole to play the set! A reprise of “Work” saw some audience participation, with another treat being the lovely “Railway Parade”, his deep, rich voice and story telling winning over the crowd.

Back in the mid to late 1990s’ The Producers were without doubt one of Britain’s most popular blues bands, but split, actually playing their last North West gig at Hooker Blues Club in Wrexham . . . fitting then that their first gig back in the area should be here at the festival. Original members Harry Skinner (lead vocals and guitar) and Dave Saunders (bass) are now joined by Ray Drury (keyboards) and Biff Smith (drums). A beautifully delivered set featured some sparkling guitar from Harry Skinner, who also was on top form vocally, with newcomer Drury excelling on the keyboards. New material included “I Got Blues” and “Some People Say”, with a dip into the back catalogue for “Bitter And Twisted And Blue” . . . with the great “Take Me The Long Way Home, another new song, being well received. It’s nice to have such a fine band back on the scene!

Bringing a quite fabulous day to an end were possibly the best live band on the circuit at the moment - The Stumble - who after a recent storming headlining slot at the Warrington Blues Festival, could not fail with their uptempo mix of blues, soul and more! The area in front of the stage soon became a full dance floor as an extended over-curfew (only slightly!) set of favourites were performed. Set highlights were rip-roaring opener of Hound Dog Taylor’s “Gimme Back My Wig”, the stomping “Maudie” and a slide driven “The World Is Tough” - the title cut of the band’s first album. The band got soulful on “Bus Stop”, from the second album, “The Houngan”, but were back with the blues on a ferocious “Meet Me At The Bottom”. They were afforded the first encore of the day, purely due to time demands, and played the show-stopping “All Over Again”, a gorgeous slow blues, with brilliant guitar from Colin Black and impassioned vocal from Paul Melville. This band go from strength to strength, and are pretty unstoppable at the moment. The full line-up is Paul Melville (vocals), Colin Black (guitar and harmonica), Jonny Spencer (guitar), Simon Anthony (saxophone), Dave Heath (bass) and Boyd Tonner (drums).

Thanks from me to the organisers - particularly Pete Evans, Paul Taylor and Ian Williams - and to all volunteers and helpers. This was a great festival - reasonably priced, good beer, etc.,  and long may it prosper, see you in 2010.

GRAHAME RHODES

All pictures from both reviews supplied by Grahame Rhodes; these and more have been uploaded to the bluesinthenorthwest.com photo archive.

This was the fifth Worthenbury Blues and Roots Festival, building on the wonderful heritage of the Dragon Blues Festivals that graced Wrexham Rugby Club for many memorable years. The venue for the open-air festival is farmland kindly made available by Michael and Elizabeth Brownrigg at the village that lies between Malpas and Bangor-on-Dee in North Wales.

The event comprised a main stage and an adjacent acoustic stage, on which the action alternated in impressively quick succession. The task of opening the show on the acoustic stage fell to Hopson, a trio of local sixth-formers, who were making their first ever public appearance. As if that were not daunting enough, the lads had also been forced to regroup owing to the indisposition of their bass guitarist, Adam Squire, as a result of a broken wrist. Rhythm-guitarist Gavin Hooson bravely filled the gap and joined drummer Alex Squire in the engine room. Led by singer/guitarist John Taylor, the band overcame their first-date nerves and went on to deliver an enthusiastic set that included numbers by Bob Dylan and the White Stripes.

First up on the main stage were Newton-le-Willows-based Papa Legba, with singer/guitarist Alan Crawford very ably supported by his brother, Scott, on bass guitar and Graham Brighouse on drums. Their vibrant set combined some rocked up versions of Robert Johnson and Son House favourites, SRV’s “Pride and Joy” and some beautifully played slow blues, including a fine rendition of Eddy Boyd’s “Five Long Years”. There was also an airing of George Harrison’s “While My Guitar Gently Weeps” and a rousing delivery of Rory Gallagher’s “A Million Miles Away” to provide a terrific impetus to the day’s events.

Back on the acoustic stage, Liverpool-based Naomi Mather entered the afternoon session with the first of two sets, the second forming part of the evening session. Naomi demonstrated her burgeoning talent as a songwriter with a programme of excellent original songs. She accompanied her beautifully clear vocals with highly accomplished playing on acoustic, resonator and lap guitars, showing equal mastery of finger-picking and slide techniques. She also tapped the rhythm on a very effective stomp box. This is a young lady who is surely destined to make a considerable impact across the British blues scene.

The main stage was then taken by storm by Big Blues Tribe, a nine-piece ensemble from the Midlands that boasted no less than a five-piece brass section. Fronted by big-voiced singer/trumpeter Oliver Carpenter, they opened their account very appropriately with “Let The Good Times Roll”, an apt description of what lay in store. Other delights included “King Of The New York Streets”, “St James Infirmary Blues” and a reggae-style version of “I’m In The Mood For Love”, for which Beth Naylor and Abby Brant took over the vocals. They also provided close harmonies on a gospel number before ending a highly entertaining set with an upbeat rocker. The band reported that they were dashing off to a second gig in Worcester. “That’s two gigs in one day,” they boasted. “Come to think of it, it’s only the second gig this year!” one of them added. The truth is more likely to be that they are in great demand, if this performance is anything to go by.

At each of the previous Worthenbury festivals, there has been a surprise package that has stolen the show. This year’s event was no exception to that rule, as Australian singer/guitarist Rory Ellis proved with his two warmly-received appearances on the acoustic stage. Supplemented by the superb playing of Alex Roberts on lap slide guitar, the man from Geelong produced a stunning mix of powerful vocals, brilliant guitar and banjo playing and hilarious chat. His two sets featured many of the tracks from his most recent album, including the title song, “Two Feathers”, a compilation of high quality original songs, which draw heavily on his eventful life. A particular highlight was “No Love In This war”, while “Home Tonight” was inspired by his spending an eternity trying to find an appropriate exit from the Leicester ring road – an ordeal that has been universally endured. Lost in Leicester, perhaps, but found by a host of admiring fans at Worthenbury.

The headlining act of the afternoon session on the main stage was the recently re-formed Down At Antones. Led by founder member, singer/guitarist Neil Partington, the band comprised bluesinthenorthwest’s own Ken Peace (also a founder member of the band) on harp, Nick Lauro on drums and Steve Brown on bass. On this occasion, the band also included Paul Need, guesting on keys in the absence of usual keyboard player, Glen Lewis. The band shuffled into action with Howlin’ Wolf’s “Riding In The Moonlight” and a fine version of “Black Cat Bone”. The jazz standard, “Mercy, Mercy, Mercy” featured some wonderfully full-bodied harp and tasty guitar and keyboard solos, all immaculately driven by the rhythm section. The nicely varied set included Rice Miller’s slow blues, “Cross My Heart”, and a lovely portion of New Orleans funk in the shape of “Pocky Way”. The icing on the already delicious cake was provided by the introduction of Johny Hewitt to weave his harmonica magic on Lowell Fulson’s “Reconsider, Baby”, followed by top class interplay with Ken Peace on the driving boogie, “Biting The Bullet”, to climax a tremendous set.

Pete Evans, Paul Taylor, Ian Williams and their myriad assistants are to be congratulated on yet another magnificent event. It is entirely fitting that the quality of the line-up and the excellence of the organisational arrangements was matched by a massive attendance and brilliant sunshine.

Lionel Ross

This was the third appearance of the John O’Leary Band at Liverpool Marina, which speaks volumes for their popularity at the city’s premier blues venue. There were a couple of changes to the previous line-up of the band: Wayne Proctor replaced Joachim Greve on drums and singer/guitarist Dave Day was added to the core membership. However, the basic elements were still in place: John O’Leary on vocals and harp, Jules Fothergill on guitar, Jools Grudgings on keyboard and Roger Inniss on bass guitar.

The band opened with “Born In Chicago”, which afforded an immediate opportunity for Day, O’Leary, Grudgings and Fothergill to set down their markers as highly skilled soloists, while a splendid rendition of Junior Wells’s “Snatch It Back And Hold It” featured a cameo solo from Roger Inniss on bass guitar. O’Leary conjured up some mean harp on “Early In The Morning”, which was also blessed with a fabulous solo from Fothergill, before newcomer, Dave Day, delivered excellent lead vocals and tasty guitar on “Need Your Love So Bad” and Steely Dan’s ”Do It Again”. The first set was completed with “Little By Little”, on which Grudgings was the major magician, closely followed by a marvellous interplay between the two guitarists.

The second set began with “Don’t Let My Baby Ride”, for which Jules Fothergill produced a phenomenal solo, enhanced by superb underpinning by Wayne Proctor. Dave Day then resumed lead vocals on the slow blues, “Double Trouble”, which featured some great harp playing from O’Leary, and his own “I Only Want To Have Some Fun” before the highlight of the evening – a fantastic version of “Black Cat Bone”, on which all members of the band excelled, including the superb rhythm section. The loudly demanded encore comprised four numbers sharing a common beat: “Yonder’s Wall”, Elmore James’s “One Way Out”, the original “Roadhouse Man” and everybody’s favourite, “Help Me”. The standing ovation that erupted at the close was completely unanimous and thoroughly warranted by the truly magnificent show.

John O’Leary Band Website

Lionel Ross

I had a great time at Worthenbury yesterday.  I enjoyed playing the spot with Down at Antone’s and I enjoyed all the music and the good friends that I met.

There will be a review shared between regular bluesinthenorthwest.com writers Lionel Ross and my partner in crime Grahame Rhodes.  Watch this space for details.

Thanks to all the organisers and the volunteers.  A terrific job.  My sincere thanks.  I didn’t take many pictures for two reasons 1.  I’m not very good and 2.  I’m lazy.  However I did try to capture some pictures that would be a bit different to everyone else’s. 

The sweet collection of Gibsons belong to Jonny Spencer of The Stumble.  Top bloke.

Roll on Worthenbury 2010.

KELLY CARMICHAEL
“Queen Fareena”
(Dogstreet Records DOG003)

I suspect very few blues fans will have anything quite like this in their collection.  Kelly Carmichael’s second solo CD is a heady fun-filled gumbo of string-band roots, country blues and ragtime all dished up, in Carmichael’s imagination at least, on a Mississippi riverboat drifting slowly down to old New Orleans.

His old-time six-string banjo and splendid slide guitar are mixed in with a quality accompaniment of sassy horns, occasional accordion and country fiddle, driven along by upright bass and, especially, the constant effervescent shuffle of Jean-Paul Gaster’s drums, creating what is often almost a novelty dance band feel.

Carmichael blurs the ‘public domain’ origin of much of the material with definite nods to the greats.  Mississippi John Hurt’s “Salty Dog” is given a brassy flavour swaying effortlessly from Dixieland to swing. “Cincinatti Flow Rag”, one of three Rev Gary Davis tributes, is actually a chance for Scott Rich’s trumpet and trombonist John McVey to cut loose as they do regularly throughout.  Resonator guitar and fiddle transform Robert Johnson’s “Last Fair Deal Gone Down” into a country two-step.  John Hammond’s “Untrue Blues” will also appeal to readers with great guitar underpinning more of those wonderful horns.

Carmichael has breathed new life into lots of ‘trad arr.’ stuff here but there are a couple of originals. “Booker Blues” grows out of a marching drum beat to big-band jazz with tempo changes aplenty while the album’s title track concerns a turn-of-the-last-century brothel steamboat plying aptly “from Chicago to Louisany” and ends with the neat touch of a steam calliope organ and riverboat horns.

A joyous and raunchy romp. Thoroughly recommended.

John Bottomley

http://www.kellycarmichael.com/

http://cdbaby.com/cd/kcarmichael2

“A Time And Place”

Here’s an interesting release from Sheffield guitarist and writer, Robin Hoare – a heady mix of blues, soul, funk and jazz – but always just in the blues camp, dominated by his fiery, fluent guitar work, and ably assisted by a fine band, from the cream of the Steel City – and all self-written, bar one track by bass player, Danny Fox.

Robin Hoare started playing in band at the age of 16, learning his trade from some of his home city’s finest jazz and blues musicians, and by 18 was fronting band on the local live circuit, appearing at the Burnley Blues Festival in 1994, before going out under his own name in 2002.

Hoare deals in funky, horn-filled blues as heard on the first track “Living On The Easyplan” – his ode to the credit crunch, with some Albert Collins-inspired leads and brass to the fore; the following “Time Is The Healer” dips into rocky territory, before the slow jazzy blues of “A Tale To Tell”, with Dale Storr’s subtle keyboard work shining, with some lovely tinkling piano.

The mood switches on the laid-back funky “Tell Me”, with a nice band performance here and the string section of Jonathan Draper (cello) and Helena Reynolds (violin), with Hoare adding some acoustic guitar flourishes and solo. The instrumental “Lullaby” almost veers into Mark Knopfler territory – with just Danny Fox on solo bass guitar in a very quiet, laid-back jazzy mood – very nice indeed!

“Aleena” turns up the gas, with more fluid guitar leads – another song with a more rocky feel, before a return to pure blues on “Like A Game”, with Dale Storr’s organ work very impressive here. “Online Gambling Games” is a wry commentary on the modern day addiction of the title – more fluid guitar work and soloing; with the closing “Found Myself A Friend” moving into a BB King type groove – a swinging jazzy shuffle.

For anyone who likes their blues mixed up with some jazz, soul and funk grooves, this is well worth checking out and a fine effort from all concerned – Robin Hoare is a fine player, but must admit to not being knocked out by his voice – check him out at Colne in August.

GRAHAME RHODES

www.robinhoare.com

www.myspace.com/therobinhoareband

The excellent site Early Blues have published a set of excellent photos from the brilliant Warrington Festival that was held on 23 May.

Check out the link below for the picture sets.  Great work.

http://www.earlyblues.com/Warrington%20R&B%20Festival%202009.htm

Do you remember the festival…..

http://www.bluesinthenorthwest.com/index.php/2009/05/26/review-the-warrington-blues-festival-23-may-2009/

http://www.bluesinthenorthwest.com/index.php/2009/05/27/review-the-warrington-blues-festival-23-may-2009-2/

ARTHUR LOUIS

“Black Cat”

(Black Cat Records: BLACKCATCD002)

 Those with pretty long memories may remember Arthur Louis from way back in 1974, when he released a fine debut album, with Gene Chandler on vocals, Eric Clapton on no less than seven tracks, and his bass player in those days was an 18-year-old Mike Oldfield – spawning a hit single version of Bob Dylan’s “Knockin’ On Heaven’s Door” that your humble reviewer used to own – if I remember, on the Plum label.

 Thirty odd years down the line, the Jamaican-born, Brooklyn-raised singer/writer/guitarist has released a fine soulful blues album, with a reprise of some old tunes, together with a sprinkling of new ones – backed by a fine British cast, featuring notables such as Steve Simpson, Noel McCalla, Blair Cunningham, and two fine horn sections – one being the in-demand Kick Horns – Simon Clark, Roddy Lorimer and Tim Sanders.

 The 12 cuts on offer are all self-penned bar a dip back to the afore-mentioned “Knockin’ On Heaven’s Door”, with its reggae-infused arrangement that Eric Clapton was so taken with that he recorded it himself; and the co-written with Keith Miller, “One Day I’m Gonna Wake Up” – with its summery soulful feel, with nice acoustic guitar and some funky keyboards.

 Arthur Louis possesses a lovely, relaxed sort of voice and his guitar work is sharp and to the point, no overlong flashy solos here. The title cut, “Black Cat” has a deep soul edge, again with his Jamaican roots present as it goes into a loping reggae beat – very nice indeed. “The uptempo “Rescue Me” has some impressive fluid guitar at the start, with the horns very prominent, and again rides on a funky, soul kind of groove.

 The band rock-out on “Fast Car” – some more fiery guitar here in the shape of a very fine solo; “If I Ever Needed You” is a ballad with aching vocal and guitar from Arthur Louis, and top backing vocals from Sonia Jones, Noel McCalla and Steve Simpson – one of the album highlights.

 “Birthday” brings to mind Procul Harum’s “Whiter Shade Of Pale”, with its organ intro and features yet another top vocal performance from Arthur Louis and the backing vocalists. Proceedings come to an end with “Rose A London”, with a funky bluesy feel and lashings of more fine guitar and horn work – a fitting end to a most enjoyable release.

 GRAHAME RHODES

 www.arthurlouis.co.uk

The third acoustic blues gig arranged by John and Lorraine Welsh at the Allerton Manor Club was graced by Eddie Martin. At a previous gig, the highly popular blues man had appeared in band mode at the Liverpool Marina, but on this occasion he performed alone, following his presentation of a musical workshop earlier in the day at a school in the West Derby district of Liverpool.

Eddie opened the show with the self-penned upbeat shuffle, “Someone’s Making Money But I Know It’s Not Me”, which he dedicated to the notorious, retired chairman of a failed British bank. Robert Johnson’s “Little Queen Of Spades” briefly slowed the pace before “Toy Ballerina” rolled and tumbled, followed by a rousing delivery of Slim Harpo’s “Shake Your Hips”. A harmonica instrumental in the style of Sonny Terry then demonstrated Eddie’s versatility. That led to a confession that his “One Man Band Rag” was based on a Paul Rishell riff, his guilt over which had subsided when he learned that Rishell had himself borrowed it from Blind Blake. For his own blues ballad, “Rebound Juliet”, Eddie switched for the only time all evening to his second guitar. Other than that, he played his recently acquired 1936 National, Old Goldie, supplemented by rack harp and amplified suitcase.

During the interval, the audience was fascinated by Colin Hall, the Custodian of Mendips, the house that John Lennon had lived in with his Aunt Mimi. Colin described a recent visit to the house by the Beatles tour bus. To his amazement and delight, he recognised one of the visitors as being none other than Bob Dylan, who was performing at the city’s Echo Arena. Colin also confided that the legendary songsmith was unpretentiously melting into the crowd and was both approachable and courteous, contrary to his popular reputation.

After the upbeat rocker, “The Devil’s Joker”, which described the subliminal criminality of a plausible jester, the second set proceeded with a string of numbers that encouraged audience participation. They started with the boogie, “Bundle Up And Go”, Muddy Waters’s “Close To You” and “Flowers To The Desert”. Eddie then explained that he had written the next song, “Ingolstadt (We’re Coming Back)”, in a fit of pique provoked by the last-minute cancellation of a gig in southern Louisiana at the end of a prodigiously long and tiring journey. The set was completed with another touch of whimsy underpinned by a boogie-woogie beat, followed by two encore deliveries: a train-journey harmonica instrumental and Elmore James’s “Talk To Me, Baby”.

The cosy atmosphere of the Allerton Manor Club was ideal for a typically entertaining performance by Eddie Martin, which combined excellent vocals, versatile musicianship and warm personality in equal measure. Marvellous.

Eddie Martin Website

Lionel Ross

Ian Williams has kindly provided a few pictures of the Fruteland Jackson gig at Worthenbury Village Hall last Saturday.

For the others, please visit the bluesinthenorthwest.com photo archive.

BULLFROG BROWN
“Mother River Delta” (KWAQ Records: KWAQ0801)
“With Steve Lury & Peeter Piik” (KWAQ Records: KWAQ0901)

Here’s a couple of releases that have been waiting for review for a good while, some ‘Blues from the Baltic’ by Estonian outfit, Bullfrog Brown - principally guitarist Andres Roots and vocalist, Alar Kriisa. The guys describe their music as ‘alt blues’, but to me sounds like very fine Delta and country blues, beautifully delivered - both musically and vocally.

The earlier 7-track “Mother River Delta” is just Andres Roots and Alar Kriisa on a mix of acoustic and slide guitars and some percussion - highlights are the stomping menace of “30″, the sweet country-flavoured “Nothing But Trouble” and the slide-driven “The Wagon Song” - all featuring Roots lovely acoustic and steel guitar, with Kriisa’s growling, distinctive voice.

“Talkin’ Drinkin’ Man” is firmly in classic Delta blues territory, with more engaging slide guitar, with this mini-album rounded off with the sort of Robert Johnson meets Elmore James blues of “Rain” - again, very nice indeed.

The current part studio and part live release - “With Steve Lury & Peeter Piik” - is full-length and a more muscular effort, with the duo of Andres Roots and Alar Kriisa joined by Kent-based harmonica player, Steve Lury, and the stand-up bass of Peeter Piik, to give it much more of a band feel.

Again it is very much in a Delta blues style, but also very engaging - due partly to Lury’s harmonica playing, which is usually amplified and with a meaty tone, but not swamping the other musicians, as heard on the opening “Blues For Breakfast”, which is later reprised as “Breakfast With Steve” - basically the same song, but with more harmonica.

Lury, who made contact with the band through an internet blues forum, is unknown to me, but his playing is consistently strong throughout - with some nice Sonny Boy Williamson-style acoustic playing on “Pumpkin Blues” - the perfect foil for Andres Roots impressive slide guitar work.

“Papa Wolf” sees a sinister vocal from Alar Kriisa - with, unsurprisingly given the title, shades of the great Howling Wolf; “Modern Times” rides on another nice slide riff, with “Dust In The Groove” being in similar territory - more superb work from Steve Lury here.

Andres Roots switches to some grungy electric playing on the mid-tempo shuffle of “Narva Road Breakdown” - with fine solo, firing off Lury’s harmonica - an album highlight! The slow blues of “24.00 Hours” brings proceedings to a rambling halt, as the band stretch out over some eight minutes - with the guitar/harmonica pairing intertwining again - more top electric work here from Andres Roots.

GRAHAME RHODES

www.myspace.com/bullfrogbrown

www.myspace.com/stevelury

The cds are available from the excellent

www.rootscd.com

UPCOMING GIGS

Bullfrog Brown have a few upcoming dates in the bluesinthenorthwest.com region.

“THE RADIO KINGS”

(CoraZong Records: 255 117)

After some 10 years apart, The Radio Kings return, with this self-titled album, as ever fronted by the Boston-based duo of Brian Templeton (vocals and harmonica) and Michael Dinallo (guitars) – with the 11 tracks on offer crossing into all spheres of ‘American music’ – from blues to summery pop, with soul and funk leanings.

The two main men are accompanied by Steve Sadler (lap steel), Dean Cassell (bass), Andy Plaisted (drums & percussion) and Ducky Carlisle (percussion and clavinet), and together the seven new songs on offer, with four covers, are all very agreeable, but maybe not reaching their 1990s’ peak, when they started out as a straight blues band before diversifying into more rootsy material.

The Memphis-flavoured soul groove of “Can’t Keep A Good Man Down”, with Dinallo’s slide guitar prominent, gets things off to a lively start, followed by the poppy “Donna” – with Templeton’s sweet harmonica, some lovely harmony vocals and a nice summery feel. Magic Sam’s “She Belongs To Me” is one of the album highlights, with its nice rolling tempo and fine playing again from the whole band.

Michael Dinallo’s “Watch The Trains Roll By” again features his impressive slide guitar work and tasty solo, with Steve Sadler’s lap steel giving it a very grand ‘Americana’ feel. The acoustic country blues of “The Moanin’ Blues sees a shift in direction, with Templeton’s amplified harmonica on top of Dinallo’s acoustic guitar – definitely another standout track!

Elsewhere, “Everything’s Gonna Be All Light” sees them in heavy funk mode, with a blues edge; the standard “Pallet On The Floor” is turned into a uptempo shuffle, and the ballad “I’m Not Dreamin’ “ again shows the variety of music on offer. The traditional “You Got To Die” sees the band in a country blues mode, more nice lap steel.

Proceedings end with Don Robey’s “You’re Gonna Make Me Cry” – a hit for Southern soul man O.V. Wright – covered in fine style here and a fitting end to a most enjoyable comeback – with Brian Templeton’s aching vocal, and Michael Dinallo’s sparse tremolo guitar pouring on the heartache! Good to have you back guys!

GRAHAME RHODES

www.myspace.com/theradiokings

www.corazong.com

Peter Price and The Stumble at Warrington RnB Festival - 23rd May 2009

Both headlining acts at the Warrington Rhythm and Blues Festival delivered further Contributions from within the North West region: Peter Price (acoustic stage) and The Stumble (main stage). Peter Price was his usual, whimsical self and delivered an entertaining set that included a humorously enhanced version of “Hot Tomales” and a splendid selection of works by, amongst others, the two Johnsons (Lonnie and Robert), Leadbelly and Mississippi Fred McDowell. His powerful vocals were nicely augmented by his dexterous finger-picking, and both were embellished by his amusing asides. One observation that was particularly well-received was that, in the current climate, there was really only one house of ill repute. The whoops and hollers emanating from the audience in sympathetic response said it all.

Following The Cadillac Kings is never an easy task, and it takes another member of the country’s Blues Premier League to rise to that challenge. Needless to say, The Stumble fall comfortably into that category. Fronted by the superb Paul Melville on vocals, they conjured up yet another magical performance. They immediately leapt into action with the bouncing “It’s A Lie”. “Bus Stop” featured a vibrant sax solo from Simon Anthony and the rumba-rhythmed “Sugar Don’t Taste So Sweet” maintained the upbeat mood. A terrific version of “Who’s Been Talkin’?” was blessed with tasty guitar solos from both Johnny Spencer and Colin Black.

The set was full of the band’s customary verve and the dance floor was soon thronging with eager participants, some clearly emboldened by copious quantities from the real ale bar at the back of the room. Paul Melville was at his best, particularly on the slow blues, “All Over Again”, and “Ain’t Nobody’s Business”. The former inspired Simon Anthony to venture into the crowd, while both were substantially graced by the wonderful guitar work of Colin Black. In contrast, “Meet Me At The Bottom” maintained a frantic pace, thanks to the brilliant foundation provided by Boyd Tonner and Dave Heath, on drums and bass guitar respectively.

The set was completed with “Back To Louisiana” and the title song of the band’s most recent album, “Houngan”, before Johnny Spencer led the charge on slide guitar on the ever-popular “Gimme Back My Wig” to climax a fabulous set and an equally marvellous festival. Dave and Shirley Sawyer, Warrington Council and The Pyramid organisation all deserve praise for presenting such a memorable event.

Lionel Ross

THE WARRINGTON RHYTHM AND BLUES  FESTIVAL

The Pyramid Arts Centre: 23.05.09

The splendidly-appointed and located Pyramid Arts Centre was the ideal venue for this first day-long festival, organised by Dave Sawyer and wife Shirley – and what a triumph it turned out to be. With a strong bill, good bar and food facilities, and the North West’s top blues DJ, Chris Powers, spinning the tunes between bands, a great time was had by all.

Following on from the sterling work that Ray and Barbara O’Hare have done for years to bring top-class blues to the town, which was acknowledged from the stage by at least one band, the promoters had a good mix of local bands, some of the cream of the North West, and a top national band – not to mention an acoustic stage, to give the day an even more varied feel.

They were rewarded for all their efforts with a pretty packed venue, who I am sure will all be back next year – for, surely, this must be repeated! As previously mentioned the real ale bar was a sure-fire hit, with a quite excellent selection of reasonably prices ales – just about lasting the day out, with good food available downstairs in the café all day.

Smokehouse Blues:

The day’s entertainment kicked off on the main stage with the ever-popular Runcorn lads, Smokehouse Blues – with the monster tone harmonica and big voice of Johny Hewitt, and long-time musical sidekick, Barney Barnett, with his pure, earthy, no gimmicks, guitar work - along with the relatively-new rhythm section of Russ Williams (doghouse bass and vocals) and Mark Donaldson (drums).

The band delivered a great hour of Chicago blues and swing. Highlights included the rumba of “Early In The Morning”; a great swinging “Caledonia”, with Russ Williams vocal; and a song from the late, great William Clarke – “Feel Like Jumping” – dedicated to one Mr. Ken Peace Esq. However, best of all, was a stripped-down “Nine Below Zero” from the master, Sonny Boy Williamson – some breathtaking acoustic harmonica from Johny Hewitt on this, and nice guitar from Barney Barnett.

Work commitments mean the band haven’t been around as much as usual live-wise, but they are always totally committed to pure blues and are well worth catching – with Johny Hewitt’s harmonica playing now up with anybody in these shores – a great start to the day!

The Escape Committee:

I must admit the thought of a rock band at a blues festival had me slightly worried – but fear not, The Escape Committee, locally based in Warrington, were quite excellent with their beautifully sounding classic songs, and in frontman, Pete “Frammo” Frampton have a great guitarist and singer. The band’s fine rhythm section comprises of Phil Wright (drums and vocals) and Steve Foster (bass), with, on this occasion, long-serving Climax Blues Band keyboard player, George Glover guesting.

They opened up with the Jennings/Hooper composition, “Never Make Your Move Too Soon” – covered by the likes of BB King and Bonnie Raitt; with a storming “Unchain My Heart” and a Dylan-inspired “I Shall Be Released”. Other treats were David Crosby’s “Long Time Coming” and the Steve Winwood-penned “Can’t Find My Way Home”, from the Blind Faith days – all very nicely played indeed.

A raucous “The House Is Rockin’ “ from Stevie Ray Vaughan went down well, another highlight of the set. As they say ‘you shouldn’t judge a book by the cover’ and that was certainly the case as far as The Escape Committee were concerned for me. They also seemed to have the best of the sound, with Frampton’s guitar and George Glover’s piano and organ work, sounding just fine!

Soul Provider:

Just about all cramming on to the stage, the 12-piece local band, Soul Provider, performed a set of well-known blues and swing covers, with a touch of jazz – with a huge six-piece horn section and three lady lead singers – starting with the old chestnut of “Flip Flop And Fly” and James Brown’s “I Feel Good”, before a touch of Ray Charles with “Hit The Road Jack.

A very varied set also included the Wilson Pickett hit “6345-789”, the copper-bottomed classic “Son Of A Preacher Man” and the anthemic “Sweet Home Chicago” – encoring with the Creedence Clearwater Revival hit, “Proud Mary” – here given more of the Ike and Tina Turner feel to it!

Lucy Zirins:

At this point I have to admit to slipping out of Soul Provider’s set to catch a couple of numbers by Lucy Zirins and a bit to eat!

The young Lancashire lass – just 17, and hailing from Burnley – had drawn a good-sized crowed to the acoustic stage. She has a beguiling voice and is no mean player on her National steel guitar. It seems strange to see a girl of such tender years playing such an old song as Son House’s “Death Letter Blues”, but she carried it off in fine style – gaining a much deserved encore, for which she performed a lovely version of Curtis Mayfield’s “People Get Ready”.

With a recent support slot for Louisiana Red and Michael Messer under her belt, a demo CD ready to go, and increased number of live shows, I think we will be hearing a lot more of Lucy Zirins.

The Cadillac Kings:

Second last up on the main stage were the quite brilliant ‘kings of blues and swing’, The Cadillac Kings – and here you must excuse my bias, as they are one of my favourite bands, with the current line-up being exceptional, as they tore the house apart in a fabulous hour-and-a-bit set!

The band – Mike Thomas (lead vocals and slide guitar), Gary Potts (harmonica and vocals), Mal Barclay (guitar and vocals), Henri Herbert (piano), Paul Cuff (doghouse bass) and ‘Uncle’ Roy Webber (drums and vocals) – are rapidly becoming ‘national treasures’ and are the ultimate good-time festival band, filling up the dance floor in minutes and putting a smile on everyone’s faces!

The previous night, at The Ironworks, in Oswestry, the band had recorded some 20 songs for a forthcoming live album, with many of them featuring in the set here – some new covers and a few penned by Mike Thomas, with his trademark wry lyrics – possibly the best being the finger-on-the-button “Old Age Is Coming” . . . true indeed for some!

Other new numbers were a sparkling take on Brook Benton’s “Kiddio” – a song often performed by the great Mike Sanchez, with the band’s arrangement similar to his; and a rousing instrumental from Mal Barclay – “Cats Meow” – his Les Paul Gold Top sounding quite magnificent, in a vintage way – indeed, his playing was superb all set.

One of the band’s strengths is that they possess four vocalists, and apart from Mike Thomas, the other three were all featured. Gary Potts, as well as his customary top-drawer harmonica work, sang the great James Harman’s “Stranger Blues” and his own “Hot Rod V8 Ford” – an ode to his hobby away from the band. The afore-mentioned Mal Barclay took a turn on “T-Bone Boogie”, with master drummer Roy Webber singing the Texas shuffle of “Tell Me Why” – one I very much hope makes the cut for the live album.

Combine all the above with Henri Herbert’s boogie-woogie piano and the rock solid Paul Cuff on doghouse bass, making up the fantastic rhythm section with Roy Webber, and quite simply, they are just sensational – and are back in the North West for three dates in October!

GRAHAME RHODES

Just a quick word before I pop out this morning for a walk.

What a great day yesterday.  My thanks to Dave Sawyer and all the organisers and sponsors.  Let’s look forward to 2010.  A full review to follow.

EDEN BRENT

“Mississippi Number One”

(Yellow Dog Records – YDR 1616)

This seems an appropriate time to review this fine release, as both the performer and the album are ‘award winning’ – as Eden Brent scooped the title of ‘Acoustic artist of the year’, and the album ‘Acoustic album of the year’ at the recent Blues Music Awards in Memphis, Tennessee – formerly the W.C. Handy Awards.

Hailing from Greenville, Mississippi, Eden Brent’s blues and boogie piano – learnt from the veteran Boogaloo Ames - are prominent on this mix of blues, jazz, soul, gospel and pop, with the title referring to Mississippi State Highway 1, which runs parallel to its more famous neighbour, Highway 61 – with the album starting out as a solo record in 2006 as a tribute to her home and afore-mentioned blues highway, before becoming an ensemble piece.

Critics have described Brent as “Bessie Smith meets Diana Krall meets Janis Joplin”, and her fine, distinctive voice certainly has shades of those ladies. A generous 15 tracks feature her sparkling piano work, and prominent brass . . . with hardly a guitar or harmonica in sight . . . . most unusual in today’s blues, but are certainly none the worse for it!

The core band, apart from Eden Brent herself, features the rhythm section of Jimmi Kinnard (bass) and James Robertson (bass), with the organ of Rick Steff featuring on a good few tracks. The opening boogie of “Mississippi Flatland Blues” gets things off to a rousing start – lots of great piano and a fine vocal, she then gets funky on “He’ll Do The Same Things To You”, with punchy horns from Jim Spake (tenor saxophone) and Marc Franklin (trumpet).

The release contains three songs written by her late mother, Carole Brent – a fine actress and singer in her own right – with the smoky jazz of “Love Me ‘Til Dawn” particularly appealing, another gorgeous, warm vocal here. She turns to some country blues on the fun “Fried Chicken”, just accompanied by Rick Chancey on acoustic harmonica and guitar. The title track, “Mississippi Number One” is very autobiographical – about home and the road – and boogies along driven by her piano and the tight rhythm section.

George and Ira Gerswhin’s beautiful “The Man I Love” is another highlight – just voice and piano; with another solo performance on the traditional “Careless Love”. The full band get funky again on her own “Meet You Anywhere”, with the added bonus of the very fine Reba Russell on backing vocals.

Other highlights are the jazz-tinged “Afraid To Let Go”; a rousing boogie on her mother’s song “Close The Door”; but possibly best of all, a solo take on the immortal, classic “Trouble In Mind” – surely one of the best blues songs of all time – here with impassioned vocal and rolling ivories, a treat indeed! The closing “Until I Die” dips into gospel territory . . . with terrific backing from a six-piece choir.

In this era of loud guitars and over-produced recordings this is somewhat of a treat – produced by the lady herself in Memphis – and sounding just fine. Her ‘mama’, whom this album is dedicated to, would be very proud of her!

GRAHAME RHODES

www.edenbrent.com

www.yellowdogrecords.com