JANUARY 2005 PLAY LIST

The passing of time was never better illustrated than on the last Walter Trout tour, when the powerhouse guitarist turned to his huge London audience and thanked them for the last 14 years. And with the turning of the New Year it will shortly be 15 years since Walter made his name in Europe in his own right.

For newer Euro Trout fans - and they grow by the day - .this album marks a timely pit stop in the ascendancy of one of the best blues rockers in the world. And while "Deep Trout" cannot draw any tracks from Walter's one album deal that led to very underrated "Tellin Stories", this collection (which mainly draws on the bulk of his "Provogue Years" is good enough.

Opening with a characteristic brusque blues rocker "Put It Right Back On You", the album takes in Walter multi faceted persona as the blazing guitarist, the reflective balladeer, the cutting edge blues man, even Trout the Latino rocker plus there is one off his earliest efforts as a 21 year old, which nicely follows his role a classy sideman for multi-instrumentalist chum Freebo.

Longer time fans will once again thrill to the Santana style grooves, and the poignant Jimmy Trap lyrics of "Sweet As A Flower", while the New Orleans groove of "Victor The Cajun" recalls one of many career highlights.

It's good to hear the now seldom heard, but one time stage favourite "Motivation of Love" and the Marie Trout/band effort that made "Fast Movin'Traffic" (both from "Transition") one of the stand out tracks on the original album.

Trout fans will have their own choices, but quite simply there is so much good stuff here, they will doubtless return to this timely compilation again and again.

Here are some clips from Deep Trout :	Broadband (CD quality)	Dial-Up (AM radio)
If You Just Try
Victor The Cajun

 

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Try and catch the harp led, twin guitar attack of the JOL band live and get a taste as to how an album of songs can organically grow on the road to becoming one of the best live sets on the circuit.

This album stays near the top of my play list not because it's the greatest album every made, but quite simply it's the most successful fusion of traditional and contemporary blues grooves for as long as I care to remember.

In many ways this isn't even a blues album, sure John opens with the impressive brace of "Early In The Morning" and an excellent reading of Junior Wells' "Snatch It Back". But the thing that makes this album more than interesting is the tension that underlies some top quality playing from a well drilled road band. John's harp playing is authoritative throughout, and he adds a soulful rap on "Blue Water", which offers the subject matter to the album's title. Meanwhile while on their three appearances together, the twin guitar attack of producer Jules Fothergill and his guitar accomplice Tim O'Sullivan constantly strain at the leash.

The rhythm section of bassist David Hadley Ray and Joachim Greve on powerful drums, push the front line players, and when required Belgian keyboard player Dominique Vartomme adds some sumptuous fills and in the case of "Who's Been Talking" he weighs in with a quite beautifully judged solo on which each note is delicately and very deliberately delivered - a welcome case of the space between the noted adding to the dynamic. This number has real presence, feel, and is a deep blues outing, and is an album highlight.

The juxtaposition of the above with the rocker "Waiting For You" - complete with searing backing vocals from Lorna Really, and a flighty jazzy solo from Jules followed by O'Leary's pithy harp, shows the variety of the band's oeuvre.

The album also contains two instrumentals. The funky "And Everything" is underpinned by Greve's tick-tock percussive pattern and is topped by some steely dual guitar lines. It's an impressive piece, yet sans O'Leary feels strangely like well-played 70's anonymous fusion (though to be fair it does feel a bit like Larry Carlton). "Chiswick Roundabout" on the other hand is driven by O'Leary's warm harp signature and pushed along by another impressive performance by the rhythm section, and all in all feels more like a band effort.

But as I suggested at the outset not everything works, notably "House of Ice" on which several laboured verses are only rescued by a resonant chorus, while former Savoy Brown vocalist Dave Walker brings a curious early Stan Webb style warble to "I'm Tired". The albums only full blown shuffle, "Move Away" is another highlight as O'Leary blows fiercely over Jules's mesmerising slide guitar, before the twin guitars duel away into the sunset. Guitarists Fothergill and O'Sullivan work towards an impressive outro but the sudden frenetic interplay begs the question what happened to the harp?

The closing gospel feel of "Save My Soul" rounds off a veritable a fine effort that if officially released in 2005 should stay the course as one of the blues influenced albums of the year. Finally a word for Jules Fothergill's intuitive production, which if at times a little scissors and paste really does bring out the exciting moments of some fine band playing. And also for John O' Leary for having the vision to bring a contemporary feel to what remains essentially blues at the core.

Here are some clips from Sins:	Broadband (CD quality)	Dial-Up (AM radio)
Who's Been Talking
Waiting For You
Chiswick Roundabout

 

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3). Gov't Mule "Déjà Voodoo " ATO Records
Mule.net

Gov't Mule first caught my attention relatively late in their career with their tough "Life Before Insanity" album. With the sudden untimely death of bass player Woody, and a cancelled Euro tour, and with guitarist Warren Haynes' on going Allman Brothers and Grateful Dead commitments, that seemed to be that. But here we are some 4 years on and The Mule are back with a tough new offering that is as hard hitting as it is gloriously Retro.

If a new generation of kids are flocking to see this band's shows and buying the albums in impressive quantities, then it's fair to conclude that Gov't Mule are the first band since The Black Crowes to cross the early 70's Rock sensibilities into the 21st century.

Sure there's Dave Matthews and countless other players, but in Warren Hayes the band have THE archetypal Rock vocalist with a bluesy feel that draws on Skynyrd, Free and all shades of Paul Rodgers, and all who were influenced by him.

Above all, amongst these dozen cuts of prime muscular funk driven rock, there's handful of carefully crafted songs ranging from the almost claustrophobic feel of "Silent Scream"- which resolves itself in an extended languid guitar/keyboard workout - and the sweeping bluesy ballad "Little Toy Brain" to hugely impressive funk groove of "Perfect Shelter".

And yet strangely for a band best known for their on stage jams, you feel they are just touching on the periphery of their groove filled core. The band belatedly rock out on "Mr Man", but for the rest the songs pursue a more introspective feel.

The musicianship of the newly expanded quartet is first class, and Haynes is an innovative guitarist with a classic Rock Blues voice, and perhaps all that is missing is a trademark epic to set Gov't Mule just ahead of their peers; Meanwhile this is a welcome and impressive step along the way.

Here are some clips from Déjà Voodoo:	Broadband (CD quality)	Dial-Up (AM radio)
Little Toy Brain
Perfect Shelter
Lola Leave Your Light On

Were I a full time journalist being paid for my time, I would head straight for my nearest Turkish contact and get the run down on the titles, instruments and background to a fascinating mix of World Music, Arabesque, Country and of course Blues. As it is there are enough musical indicators to suggest where this excellent band of musicians are coming from to render such research less than crucial.

"Istanbul Blues" appears to be the brain child of guitarist/vocalist/song writer Sarp Keskiner and multi instrumentalist Salih Nazim Peker who chips in with everything from a banjo to bouzouki and electric saz (look it up!). But before you dismiss this album as esoteric in the extreme, it is undoubtedly an effort that will appeal to earlier Jethro Tull and blues fans alike.

In fact the album meanders beautifully through tracks like the opening kazoo/slide guitar piece "Biskotin" (complete with the riff from Tull's "Song For Jeffrey"), and the sonorous horn intro of "Kirik Hayatlar" to some quite spacey instrumental explorations on the tile track (which translates as "Other Times")

But by the time of the very Blind Al Wilson sounding "Izmir'e Donus" to the juxtaposed Eastern flavoured version of "On The Road Again", the cat is out of the bag. These guys ultimately resolve their spirited Dervish injected grooves by returning head on to the blues. The closing cover of Robert Montgomery's "Fourty Four" is less than surprising given that the earlier self penned, slide-led "Kurbagali Bodrum" is again a delicately camouflaged Turkish rendering of Sleepy John Estes "Diving Duck Blues", but none the worse for that!

This is a real refreshing take on the blues and more.

Here are some clips from Sair Zamanlar:	Broadband (CD quality)	Dial-Up (AM radio)
Biskotin
Kurbagali Bodrum
Sair Zamanlar

 

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I guess anyone who caught last years solo shows will have a clear idea of what to expect. Thus any Iceberg fans out there while admiring Deke's unique lyrics, and all too frequently used riffs will surely miss the full band backing up.

"Freedom & Chains" sounds like a collection of demo's, ideas and long time songs that have been threaded together with a few helping hands in the studio.

The result to these ears is the beginning of something unfinished. Yes there are the usual handful of Leonard lyrical gems, notably the biting irony of "Guantanamo Bay", an impressive collaboration of yore with Sean Tyla on "Tahitian Thunder", and even the bluesy idealism of "Cuba", but considering its his first solo effort for 25 years, efforts like "Blues" and the Everly Brothers style reworking of "Something In My Heart Says No", is not what we have been waiting for.

That said, there are very few artists with Leonard's lyrical acumen, and caustic wit, it's just a pity he didn't take his guitar out of the cupboard to beef up the best bits.

Here are some clips from Freedom And Chains:		Broadband (CD quality)	Dial-Up (AM radio)
	Guantanamo Bay
	Tahitian Thunder
	Cuba

 

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"White Trash Girl" essentially brings together more of the same mix of mildly risqué humour, boogie and blues from the larger than life, former porn star turned blues queen. The difference is that Candye is seemingly setting out her stall both personally and as a blues artist. She places herself squarely at the centre of what has been termed White Trash culture, with the underlying feel of disposability but also a hard working honesty about all things sexual and social.

There's an undeniable feeling of self empowerment in both her lyrics and singing, and she is to be found in the very best musical company of Preston Hubbard on bass, Jeff Ross on guitar and Damian Llanes on drums. But the truth is that once isolated outside of her colourful lifestyle, the music here is a mix of solid blues, good playing and of course an uncompromising batch of songs from the abrasive Estrogen Bomb, the fun filled "Work What You Got" and the plain honest "Masturbation Blues.

All the above mark Candye out as a personality with a big P on the blues scene, but ultimately her ordinary voice and White Trash songs are closer to her UK equivalent Dana Gillespie than the raunchy blues feel of say Bessie Smith or Etta James, but worth checking out nonetheless.

Here are some clips from White Trash Girl:	Broadband (CD quality)	Dial-Up (AM radio)
White Trash Girl
Work What You Got
Masturbation Blues

 

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There was a time when any half decent r&b band from Essex would cause a stir in the capital, and in the fullness of time go on to conquer far flung posts of Europe. But with the demise of the quality end of Pub Rock, and the blues circuit in general, those halcyon days have given way to tired old bands playing very obvious covers.

Happily this album restores a little faith. Blues fanatic and Phoenix Digital Blues DJ Ashwyn Smith very kindly brought this album to my attention, and the 17 track effort while covering all styles of blues, r&b, Rock Blues and Swing, maintains a high standard throughout.
And let's face it you always start with your trump card, and the Nightflies give the old Feelgoods a run for their money with the magnificent self penned "Delta Moon" on which vocalist/song writer Mark Sibley and guitarist Kevin Webb both add weighty contributions.

It has to be said there are plenty of covers, but the Heaters deliver an authoritative "T-Bone Shuffle", and long time Essex blues star Tim Aves and The Rockin Armadillos throw in a heavy duty rendition of Bobby Mack's "Honey Trap", while The Jives strip things down for a down home harp/guitar reading of Micky Jupp's "Down At The Doctors".

The afore mentioned Tim Aves also contributes an acoustic original in trio format, while special mention should be made of the very soulful r&b groove of The Harvey Williams band's "Ain't No Midnight Train". Throw in Roy Mette's acoustic blues and Cryin' Out Loud's clever fusion of heavy slide guitar ad female vocal, and you soon start to believe that all the best things pertaining to R&B really do still come from Essex.

Here are some clips from Essex Delta Blues:	Broadband (CD quality)	Dial-Up (AM radio)
Delta Moon - The NightFlies
How I Feel Today - Richard Dobney Band
This Life Will Be The Death Of Me - Roy Mette

 

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It doesn't come any more live than this. Right from the opening emcee spot to the first of Steve blues growls on the night, you just know that Chicago guitarist Steve Arvey is born and bred a bar room blueser. But there's more to Steve than that, and together with a very fine UK band, Blues Move (featuring Mike Hellier on drums, Julian Grudgings on keys, and the redoubtable Roger Inniss on six string bass) Steve manages to go through the card of Blues rock, boogie and a slice of funk as well as throwing in some of his own mix of relationships blues, as on "How Do You Spell Love (MISERY)", and several rockers with very catchy hooks, such as "Stranded". Throw in some acoustic low down blues, complete with guest fellow Chicagoan harp player Pete Hoekstra, on "Soul Of A Man" and you have the making of a fine "this is how it was on the night" live album

Here are some clips from Live At The Blues Of The Month Club:	Broadband (CD quality)	Dial-Up (AM radio)
How Do You Spell Love
Soul Of A Man
Stranded

 

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9). Waysted "Back From The Dead" Majestic Rock Records
MajesticRock.com

It's a great shame that the projected tour, which should have been happening now has been postponed until later in the year. So it's back to the CD and some fine hook laden, melodic hard rock of the highest order.

20 or so years after their previous incarnation, Pete Way's Waysted unexpectedly return with a tough rocking album, a bunch of tour dates and new determination that might even give Pete's main project UFO a good run for their money.

And while the title "Back From The Dead" may be a little over dramatic, this is easily the best album that Pete has been involved with for years.

The album is worth buying for the opening track alone, as the groove laden rocker "The Alternative" is crammed full of steely riffs, and a great hook. The following "Garden of Eden" combines double guitar lines with vocalist Fin's ability to added an almost southern drawl to proceedings which he repeats on the almost bluesy/Southern rock feel of "I'm Gonna Love Ya".

The rhythm section is a powerful, and unfussy throughout, allowing Robin George to impress with some addictive licks, well chosen power chords, and judicious fills. He lets rip on the "Dreams" and adds some lovely slide way back in the mix of an unlikely but successful Everly Brothers cover, "Price of Love".

For the rest it's a case of dependable hard rock, with the humorous anthem "Breakfast Show" a notable highlight. Perhaps this fine Waysted album and the impending return of UFO points to a return to favour of hard rock in general; if so this album is a fine statement of how good hard melodic rock can be.

Here are some clips from Back From The Dead:	Broadband (CD quality)	Dial-Up (AM radio)
The Alternative
Breakfast Show
Dreams

 

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10) Animals & Friends "Instinct" MPS Records
TheAnimals.co.uk

Well every once in a while you have to cast aside your own doubts and own up to the fact that an album is actually much better than you would ever have imagined.

And so it is with this all star effort, that in spite of having very little ostensible links with the Animals (save drummer John Steel, and a very distant connection with Mick Gallagher on keys), does actually impress with a handful of solid songs, some excellent playing and above all a fine production effort from guitarist Jerry Donahue.

Vocalist Pete Baron sensibly doesn't try and emulate Eric Burdon, and relies instead on delivering angst ridden songs such as "It's Always Raining Inside", and the Creedence inspired "Looking For the Light" in his own range. He does have a powerful voice, but the material here tends more towards the JJ Cale and understated rather than ball breaking Burdon.

"Justify My Life" has already cleverly been integrated into the Animals greatest hits set, and several individual performers deliver with style, though you're never quite sure sure where, as an array of players are not individually credited on each song.

Snake Davis adds telling sax and both Paul Jones and Benjamin Ruth add quality harp parts. Messieurs Steel and Rodford hold down the majority of the rhythm parts while Johnny Williamson weighs in with some incisive solos. But as I said it's the production that wins the plaudits, as a cast of thousands are somehow integrated into 15 cuts.

Good playing then, and if you can overlook some clichéd lyrics, and a tenuous Animals connection, there's some fine AOR here.

Here are some clips from Instinct:	Broadband (CD quality)	Dial-Up (AM radio)
Looking For The Light
Justify My Life
It's Always Raining Inside

 

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