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Live Blues Reviews

B.B. King Wembley Arena - April 2006 Review David Atkinson Last night the UK bid a fond farewell to The King of The Blues. I'd long avoided seeing BB King live because I so much admired his late sixties and early seventies output, particularly the classic Live At The Regal and the lesser known but equally incendiary Live In Japan. Both awesome albums documenting a blues artist at the very peak of his powers: the tightest bands, the most expressive singing and guitar work, and almost orgiastic audience responses. I just knew I’d be disappointed. This guy is eighty years old! Surely he’s a shadow of his former self? Well, no… Wembley Arena is probably as far removed from the Regal Theatre as it is possible to get – a cavernous, chilly venue you could fly a jumbo jet through. Not exactly intimate, yet BB King can not only draw a big enough crowd but fill the massive space with soul as well. King has always led a great band and along with his natural charisma it was the strength and polish of his group that carries him though tonight. The pace was gentle but still far more than you'd expect from someone his age. Relying more on his still-strong singing than Lucille - who was in fine voice nevertheless - we got plenty of banter and respectful audience participation and were still treated to some fine versions of some of his classic tunes. He earned his success through years on the road, developing a sophisticated sound that marries the swing of Louis Jordan with a gospel singer’s convictions and a guitar style that fuses T-Bone Walker, Lonnie Johnson and Charlie Christian. It's this emotive guitar playing that has had the biggest impact on blues and popular music but no one else does it with such aplomb. As interchangeable as his guest-star filled albums of the past fifteen years or so have been his career was built on a relentless touring schedule and the highlights of his recorded output have always been the live albums. Tonight, there was no trace of pastiche or self-parody, his spirit obviously not dimmed by his age or ill health. While I'd have loved to see the BB King of old, knowing his heart is clearly still in what he does more than made up for it. "I wish I could go on doing this forever," he said at one point. Obviously he can't but I'm glad I saw him while he still could.

Bluesmix Jazz After Dark- Jan 2006 Review Emily Clarke It may have been said before, but Soho is a strange corner of this heaving city. Jazz After Dark hums quietly on Greek Street overshadowed by bars of little character and much chrome. As I enter, the lights are glowing and the smiles fly between total strangers. Footsteps of the bass tiptoe up behind me and I get that familiar feeling; there’s something rolling along in the corner. BluesMix play a weekly residency here, attracting a jumble of punters to sit, grin and play table drums to blues that denies criticism. They defy submission to the old favourites rather well, choosing instead to tick between the borderlines of blues, changing the mood with a caprice and freedom that leave you unsure whether to mourn into your glass or holler into the night. Rob Fleming fronts the band with an accomplished air of mischief, and sings a voice that leaves no room in this tiny bar. Even when not pushing the sound into even the tiniest crack in the wall, Rob finds time to joke. “A little bit of funk for you there…” he drawls, while the bass player Costa leans against the wall, eyes shut – evidently still recovering. I anticipate a breather, but no rest for spent bassists as BluesMix wrench out heavy slow blues from the hand of guitarist Vic Bryant. Drummer Mimi Hajime makes delicate cymbal touches with dreaming face and earnest hands. His control is spiritual, and I can’t remember how many times I’ve sat, transfixed by him as he holds off everything but the time. Bob Morgan scuttles over a shuffle, spidery fingers lending themselves to keys and sax with blistering turns in numbers such as Smokestack Lightnin and T-Bone Shuffle. The beauty of the band lies in their ability to weave the audience through a repertoire that never once seems jaded or flat. BluesMix play with a heap of soul, each musician taking time to play around the blues. incorporating a wealth of skill and sincerity they mould their sound snugly into Jazz After Dark. Let this punter be sure; an otherwise gloomy Soho night can be easily turned around with a little help from these able players.

Tom Rodwell
The Spitz - Jan 2006
Review David Atkinson. Photo Martin Harms

Tom Rodwell plays the blues. Often sounding like there’s a four-piece band playing, Tom’s approach is refreshingly rhythm-orientated. It’s all syncopation; there’s chiming Pops Staples and fat Bo Diddley chords jostling with stabs of slide or inspired yet brief single-note runs that always serve the rhythm of the tune. Clearly each song has a loose framework that is played with and improvised within – it’s about that moment, that room and what feels right.

There are no straight shuffles here, just inspired re-workings of mainly pre-war blues, forgotten spirituals, work songs and one-chord vamps. Tom’s amp groans and wheezes with heaving bass notes and shimmering, tremulous chords – rich in harmonics, at once scolding and emollient. His foot keeps time on a homemade wooden stomp box, which adds to the percussive feel and anchors the songs. There’s a lot going on and the urge to move is irresistible. Out of the rhythms drift some familiar lyrics and odd fragments of Howlin’ Wolf, Fred McDowell, John Lee Hooker and Junior Wells, but it’s like you’re hearing them anew. His voice isn’t the gravel holler you might expect but serves as a perfect counterpoint to the churning guitar and imparts the right amount of weariness and wonder to the lyrics.

Often the groove belies the weight and seriousness of some of the songs. Out Of The Wilderness, The Lord Will Make A Way, and Why Don’t You Live So God Can Use You are somewhat at odds with the wine bar feel and trendy crowd. It’s a curious soundtrack to a Saturday night. However, this isn’t a gospel meet, it’s a party and all that’s asked of you is that you get down. This would have been easier if the Spitz management had seen fit to dim the lights a bit and move a couple of tables seeing as people had long since stopped eating. It would have helped the atmosphere a lot but did not detract from the quality of the music.

Seemingly without trying, Tom Rodwell manages to eschew the clichés that beset a lot of blues music and musicians. Well-spoken between songs and dressed in a dark suit, he cuts an unassuming but confident figure. His music isn’t a recreation of anything – it’s not like an old 45 captured in amber - it just taps into the feel and flow that makes all those old blues records so great and forceful. It’s by turns wild, angry, hypnotic and sensual. It’s as uncompromising as it is funky and some of the best live music I’ve heard in a long time.

Son of Dave
The Elbow Rooms, Islington - Jan 2006

Reviewed by Jim Ryan of The Vulnerable Things
Photo by Sian Eldridge

	Don't touch that dial! Mr. Of Dave loops the loop.

The Elbow Rooms in Islington usually hosts nights dedicated to indie/rock bands, however tonight it felt more like a late-night jam at a notorious juke joint off Highway 4 in Chulahoma, Mississippi. This was thanks to the amazing talents of Canadian Bluesman Son of Dave and the excellent night run by Goldierocks.

Son of Dave comprises of just one man, Ben Darvill who in a previous life was in chart-topping rock group the Crash Test Dummies. But, right from the start you can hear that he was brought up on the blues and this is sweet devil music for sure! The only accompaniment he has on stage is his trusty harmonicas, a shaker and a tambourine (oh and of course his loop pedals). Yet, he manages to produce the sound of a whole band, enough to think that the Blues Explosions rhythm section will soon emerge from the back of the stage.

Son of Dave beat-boxes, howls and moans through his loop pedal to produce his rhythms. You can hear the obvious Chicago blues influences, here. Although a very fine harmonica player he has the ability to move away from playing the instrument in a conventional style, creating his own unique sound.

With his beat-boxing he may not be one for the blues purest, but he appeals to a real cross section of listener (at 25 I was probably one of the oldest members of the crowd that night)! If blues music is going to survive, long into the 21st century, this is one man (and his harmonica) dragging it in the right direction.

Son of Dave is progressive and real good time music, there wasn't a single person not gettin' down to his performance. Make sure you catch him live soon. With the release of a new album in February, you shouldn't have long to wait.

Big Joe Louis
Aint Nothing But - Dec 2005

Reviewed by G.P. Throat of The Vulnerable Things
Photo by Steve Sleddon

	This is not Big Joe, it's top harp man Wes Weston who plays with him. You can see what Joe looks like if you click here to read our interview

Hard wooden chairs, dingy lighting and beer soaked floors! I can think of better places to be on a Friday night!

Hang on... No I can’t!
“Ain’t Nothin’ But…” Is THE place to hear Blues in London today. It’s the perfect setting for this genre of music.

I arrived at 6pm, the only way to guarantee a seat on a Friday night. But the crowds don’t start arriving until around 7 O’clock. There’s the usual eclectic mix of genuine Blues fans and numerous Suits looking for a drink after work, sometimes I wonder what they are expecting from the venue when they first stumble upon it, and some of the reactions can be as entertaining as the musicians!

Big Joe arrives in the familiar understated manner associated with the performers at A.N.B, most of the punters seemingly unaware of who he is. But to be fair, Big Joe isn’t the archetypal Blues artist, he looks more Bill Hayley than Bill Broonzy. He takes the stage in a shirt which exudes cabaret, but the performance is anything but.

He is backed by a terrifyingly tight band comprising a solid double bass player, a drummer with amazingly soft hands and the uniquely talented Wes Weston on Harmonica. Weston’s playing stands out immediately, his sound is so full, he never overplays (as is the case with numerous Harp players) and I don’t think he even took a breath during the opening number, effortless!

Big Joe is a soulful enough singer, he doesn’t carry the grit of an Ian Siegal but is impressive enough. His guitar playing is understated which is actually quite refreshing and only adds to the feel of professionalism that this band gives out, you can really tell that they have learnt their trade over the numerous years they have been playing.

The atmosphere rises as the set progresses (so much so that some fool knocks a pint of Murphys into my lap). There are shades of Muddy Waters (not on my jeans) and definite nods towards John Lee Hooker throughout the set, the use of Hooker style one chord riffs being a recurring feature.

All in all this is a good entertaining Blues band who are well appreciated by their audience. A well oiled outfit (I met Joe for a brief chat too and he’s a top bloke too). Well worth checking out.

The Vulnerable Things
Spread Eagle, Shoreditch - Dec 2005

	Hmm... Think the cure might be worse than the disease, but apart from that these guys are pretty damn good

Havin' it twenty-somethings, committing to the blues on the mean streets of the London indie-rock scene. Half the gigs these guys play are in a world where 'blues' is a dirty word, yet play the blues they do. Like The Black Keys, an obvious influence, they're playing it rough and raw but full of energy and invention. Rockin' it like it should be done in front of funny haircutted Shoreditch types and not being hated by them is something to be encouraged.

Frontman G.P. Throat draws an extraordinarily large, unhinged, and charismatic voice from some dark corner of his soul, and presumably rips his dynamic guitar mayhem from the same scary place. Backed up by a hurricane of drums from Jimmy Ryan, and Lewis Hodge on guitar (no bass!) they pull together a set which leaves no doubt about their blues credentials but which also keeps the cool kids happy. Their own material is their best too, which has got to be a good sign. Watch out for them...

David 'Honeyboy' Edwards
Charlies, Tuesday 15th November 2005

Public Enemy
The Forum, Wednesday 16th Novemeber 2005

Reviewed by Ricardo.
Photos by Stephen Sleddon (Honeyboy) and Ricardo (Public Enemy)

It's been an innarresting week of gig going that got me to thinking about the nature of the blues, my own (white european) response to it and about how time, as they say, makes a change.

In the 1930's black Americans synthesised a musical style that gave voice to their disenfranchisement in the language and symbols of the era - The Blues. 50 years later, the playing field still not level, another generation of black Americans did exactly the same thing. The form was different, but a new synthesis evolved which expressed the daily realities of life for black people in America in terms relevant to the times. It became known as Hip Hop.

David 'Honeyboy' Edwards began his musical career in Mississippi in the 1930s, was a contemporary of Robert Johnson, Charlie Patton and Big Joe Williams and can be counted as one of the few remaining links back to the origins of what we now understand as 'The Blues'. Public Enemy emerged in the 1980's as one of the leading forces of Hip Hop. Raw and direct and not without controversy, they championed a musical form that, as with the blues, was so compelling, the message so universal, that it was able to transcend it's specific origins and connect with people all around the world.

The links between blues and hip hop are widely recognised, but it was an interesting couple of gigs to attend back to back. Both, to an extent, were of 'historical' interest. With Honeyboy because of the rarity of living connections to those times and with Public Enemy because it felt almost like a nostalgia tour - the majority of the thirty/fortysomethings in the audience were, I suspect, there for 'back in the day' reminiscence reasons rather than to be right at the cutting edge of newest-latestness.

So a pair of gigs where the attendance, the act of homage, was almost the point of the thing. thankfully then they both turned out to be good in their own right...

Organisers Geordie & John had, by all accounts, taken a bit of a chance in putting Honeyboy on. A £20 ticket on a Tuesday night in a one-off venue is no way to guarantee a crowd, but after a quietish start the venue filled out pretty well and hopefully we'll be seeing some more top international acts playing down there in the future.

Dave Peabody kicked things off with his laid back fingerstyle acoustic country blues - Blind Blakes 'Diddy Wah Diddy', and Blind Willie McTells 'Statesborough Blues' stood out, as well as his own 'Hard to write a blues when you're happy'. Towards the end of the set we had 'guest' turns with first Rob Mason, then Paul Lamb (what is it about the Northeast that turns up top harp players?) which got the energy up in the room ready for Honeyboy to take the stage.

Joined by long time associate Michael Frank (founder of Earwig Records - 'When the blues big bites, wig out!"), Honeyboy settles himself into his chair, straps on an electric guitar and launches into a deep, dark, dirty 'Rolling Stone'. His guitar playing has a sparse, raw feel, yet everything is there.

It's not particularly technical, and at times his 90 year old fingers aren't quite up to his ambition, but that sort of thing never really mattered anyway. What he is able to do fantastically well on the guitar is create a feeling, generate a vibe, that fits perfectly with the song and which fills out all the texture and tone, all the colour and vibrancy which is needed to bring it to life.

And then there's the voice. Again, it's all about texture and tone - deep, richly grained, and multi layered. His voice evokes a way of life that no-one in the audience can claim to have a real understanding of, but which Honeyboy conjures right there in front of us. 'Sweet Home Chicago', almost a joke cliche of a blues tune now, here played by the man who wrote it, and who understands it's original meaning and context, is extraordinary, and fresh.



After some initial difficulty getting harp and guitar locked into sync it all comes together for Jimmy Rogers' 'That's Alright', and it turns out Michael Frank is a pretty good harmonica player who's clearly studied his Walters, large and small. Guitar wise, I was struck by the similarity between Honeyboy and Dan Auerbach of The Black Keys, but Whilst Auerbach's playing could be described as a post-modern deconstruction, it would be strange to say the same thing about Honeyboys. Draw your own conclusions about there being a 'correct' way to play the blues.

The music stops for a while as Frank orchestrates a story telling session with Honeyboy talking about recording with Alan Lomax - "He gave me 20 dollars - more money than I'd ever had. Took me a month to spend it in 1942!" - and various 'romantic' situations - "Time is out now. I used to be alright with the women but time is out now". For the second set they're joined by Dave Peabody and later another local legend, Big Joe Louis makes an appearance. There's a bit of struggling with Honeyboy's loose interpretation of the 'rules' - 'Long Chords' and 'Short Chords' as Peabody put it - but the overall sound is all the better for it.

Generally speaking, I'm deeply suspicious of the reverence which infects the blues. It seems that almost from the outset peaple were talking nonsense about 'authenticity' and claims for being the 'real deal' abound throughout the history of the music. To paraphrase Ray Charles, there are only two kinds of music - Good and Bad. Honeyboy's, I'm pleased to say, falls into the first category, regardless of how 'important' he may or may not be.



Bring that beat back! Public Enemy in er... full effect

The next night, another gig. This one started with a strange synchronisity. At the bar in a not especially packed Forum (or Town & Country Club if you're of a certain gig age) I spotted a woman in a Paul Lamb and the Kingsnakes T-Shirt. Having already spent some time musing on the blues/hip hop question, and having seen Paul Play with Honeyboy the night before, I was intrigued, so I spoke to her. Turned out she's a Dutch florist whose friend gave her the shirt. She's not keen on the blues, or Hip Hop, and is only there because she's meeting someone. So much for grand theories.

About half past nine mate...

Anyway, back to Public Enemy. For those of you who don't know, this is the group that features Chuck D, as seen on the 'Godfathers & Sons' film in the Scorsese 'Blues' series, hanging out with Marshall Chess. Like most of the crowd, Chuck's put on a bit of weight since the photos's for the cover of 1988's 'It Takes Nation Of Millions To Hold Us Back' were taken, but he's still there in full, forceful, effect. Watching him made me think of the quiet power of Muddy Waters amongst all the rock shenanigins in 'The Last Waltz'. Flavor Flav's still checking what time it is on his now even more enormous chest clock and looking like a late period Miles Davis.

	More (silly) rabbit than Chas n' Dave...

Along with the full crew, including S1W's and band, they're still angry, still clever and still rockin' the great beats. Assisted by a genuinely knee trembling sound system they came on strong right from the start and we had all the big ones from the past as well as some newer material. I'll spare the Bluesinlondon reader too much detail, except to say that at one point, Chuck himself acknowledged the hip hop/blues connection, name checking blues greats while introducing the undoubtedly terrific band.

Now, if you think hip hop's all about bling and gangsta's and bitches and ho's, then I'd urge you to think again. Hip hop and the blues come from the same place, and the thing that connected you to the blues is the same thing that will connect you to hip hop. You could do worse than start with Public Enemy.

Peace.

The Stuart James Band
Bulls Head, Barnes - Oct 2005
Reviewed by Phil McNeil (Former Deputy Editor, NME)

The Stuart James Band are a hard rock blues trio, in the mould of Stevie Ray Vaughan, Rory Gallagher, Johnny Winter and, of course, the Experience. It's Stuart James plus his 24-year-old brother on bass and a 19-year-old drummer -- and they are absolutely amazing.

They were a last-minute stand-in for the American bluesman Carvin Jones. We had never heard of Stuart James until yesterday, but we thought we'd go along anyway. I'm so glad we did because not only did we make a great discovery, but without the two of us there would have been an audience of just FOUR people for the first half of the show! But as one of our fellow audience members said afterwards, "I feel like I've stolen something, seeing a band that good for just six quid."

Stuart is possibly the best blues rock guitarist I've seen live since... well, SRV himself. It is thrilling when you see an R&B guitarist in total control and this guy really is the business. They play the best versions of 'Take Me To The River' and 'Proud Mary' I've ever heard, and that includes the originals by Al Green and Credence Clearwater Revival (must confess I'm not a great fan of either song).

Although Stuart doesn't ape Hendrix, they obviously dote on the great man, playing Voodoo Chile, Red House, Purple Haze and Fire. I actually saw Hendrix play Fire in a club about the same size as the Bull's Head in 1966, and The Stuart James Band reminded me what a brilliant hard rock song it is. Their version is fantastic. They also play quite a few of their own songs, all of which are good.

He's a pretty good singer with a hint of Paul Rodgers about him.
One notable thing is that they don't put a foot wrong. Often when watching a blues rock band, you'll be enjoying it and then they do something really crass or turgid. I don't think there was ever a danger of that happening with this band -they are very smart and they do what comes naturally.

I had a little chat with Stuart's brother and he said Stuart started playing guitar at 12 and "must have been born with it". Absolutely right: you don't learn to play with this ease, it has to be there in the blood. Like, say, Luther Allison, this guy shows why the blues is the natural language of the electric guitar.