Tag Archives: Laurence Jones

143. LAURENCE JONES BAND (+THE HEATERS) at THE NEW CRAWDADDY BLUES CLUB, Billericay, Essex. Friday, 20th January, 2017.

LJ at the NCBC (Photo: Karen R)

LJ at the NCBC (Photo: Karen R)

My first visit to the New Crawdaddy Blues Club of 2017 was a good one to be sure: it was the superb Laurence Jones Band, with support from house band, The Heaters. I’ve seen LJ a few times before – as an impressive 21 year-old jamming with his mentor Walter Trout (May 2013. Just before I started my website); then supporting Coco Montoya (May 2014. See my review #14); and supporting – and jamming with – Otis Grand (November 2014. See my review #30), He had noticeably improved in ability and confidence each time. So having not seen him for over two years, my son James and I were wondering if we’d notice any changes this time. We were to see….

But first on stage was the club’s house band, The Heaters. I’ve seen them many times before, but they never fail to impress with songs from their vast repertoire of covers – some of which I hadn’t heard them play before. On this occasion they played such favourites as ‘Hideaway’; ‘I’m Tore Down’; ‘Pretty Woman’ and ‘All Your Love’. But the highlight of their set was a fine rendition of Greeny’s ‘Fool No More’ featuring lead guitarist Chris Campbell. Excellent.

And so to the headline act. As the LJB climbed on stage, the first noticeable change was that band were completely different yet again. They now consist of Laurence himself of course on guitar and vocals; Phil Wilson on drums; and making his first appearance with the band, bassist Greg Smith. The LJB also now have a keyboard player in the shape of Bennett Holland. No longer being a three-piece opens up a lot more scope musically. This was the band’s first gig of 2017; and it was certainly a good start to the year.

(Photo: Karen R)

(Photo: Karen R)

The band immediately launched into the title track of the new album Take Me High. It was clear from the off that this new line-up were tight and confident together. A variety of Blues/Blues-based numbers followed, all on the Rock edge of the Blues spectrum, and all in LJ’s inimitable style. These were mainly songs from the last two albums, plus a couple from Temptation including ‘Soul Swamp River’; and a fine electric cover of the old Lead Belly tune ‘Good Morning Blues’ – nice use of wah-wah on this one. A good cover of ‘Cocaine’ was played too, with of course plenty of audience participation.

Highlights of the show for me were: the radio friendly single from the new album, ‘I Will’ (which I thought had a bit of a ‘Watchtower’ vibe about it). Also the Rock’n’Roller ‘Stop Moving The House’; and the obligatory slow number ‘Thunder In The Sky’ (apparently the first song that LJ ever wrote) – to which a couple of lovely ladies in black performed a cheeky dance – and why not? (I should have filmed it!) There was also a tasty bit of duelling between LJ and keys man Bennett on ‘You Wind Me Up’ too. Encore was demanded and delivered in the form of ‘Every Day I Have The Blues’ and ‘My Eyes Get In Me Trouble’.

(Photo: Karen R)

(Photo: Karen R)

Laurence and the boys are a fine young band, and I think they have a great deal more to offer over the coming years. The Blues genre needs young bands like this; and I noticed there were some younger people in the audience too – that can only be a good thing. If you like guitar-based Blues on the Rock edge, then you’ll enjoy their live performance if you haven’t seen them already.

Thanks to impresario Paul Dean and all the hard working volunteers at the NCBC who week in, week out, make this regular Friday night Blues club something special. Big thanks to Karen for the great photos too. PTMQ

 Laurence Jones’ website

New Crawdaddy’s website

61. LARRY MILLER BAND at TOUCHLINE LIVE MUSIC, Hockley, Essex. Friday, 17th July, 2015. + a pre-gig interview with Larry; and a few words about the club’s new venue.

When I bumped into Dave and Brian of Touchline Live Music, in Peggy Sue’s Music Bar back in April (see my Blog entry #47), they told me that they had Larry Miller booked for July, and would I be interested in coming along? I was of course keen to do so, as I knew I should be available that night; and there  was the chance of an interview with the renown Blues-Rocker in the offing too. Also, I was keen to see the Touchline’s new home at Hockley Community Centre – or ‘The Commy’ as its known locally.

Sound-check completed, the stage awaits (Photo: PTMQ)

Sound-check completed, the Touchline stage awaits…(Photo: PTMQ)

The shennanigans that went on over the loss of the club’s last venue in Hullbridge, I’m not qualified to speculate on. The important thing is that the club has had a new home in Hockley, Essex, for the last six months. I have been unable to visit ‘The Commy’ since the Touchline moved in there, so I was keen to see what Dave, Brian and co  had achieved so far. My first impression was good – the car park alone is a vast improvement on the old place! And as I walked in, I was continually impressed by everything that I saw. The whole place is very smart; and the function room is excellent. (The stage is at one end, and was looking good – set up with Marshall and Warwick amps and speakers). To be honest, I liked the other place  – it was fine; but this venue is definitely superior.

I arrived early, and after being greeted by Trudie, Dave and Brian (and also having got myself a beer), I was introduced to the club’s guest star for the night, Larry Miller; who had kindly agreed to an interview with the Quill! I’d never met him before, but he is an instantly likable bloke with a genuinely warm handshake; and turned out to be quite a character – off-stage as well as on. Trudie suggested that we should chat outside on the patio; so that’s where we went.

We began by talking about Larry’s last opus: the excellent Soldier Of The Line, released late last year. Apart from the fact that this is arguably his best work so far, I was particularly interested in the story of Larry’s Grandad, a violin player who served in the Great War, which inspired the title track. This is because my Grandad also served in that hideous conflict, and played violin too. (I won’t go into that now, but there is more to say about it, so it may be the subject of a future Blog entry). At this point, my mate Rambo turned up and after introductions, joined us.

(Photo: Rambo)

Mr.Miller and myself engaged in a pre-gig conflab! (Photo: taken by Rambo)

I asked Larry if the superb title track (which I describe as a kind of Progressive-Folk lament), was to be part of a new direction for him: ie, experimenting with genres outside the Blues-Rock field of which he is a recognised master – bearing in mind that there is also an interesting and unexpected brassy, Jazzy ending to the opening track on the album, ‘One Fine Day’. Our man pointed out that we are all influenced by multiple genres – even those who claim to be purists in a particular field: ‘People always think that if you play one type of music, that’s what you’ve been listening to all your life….we all listened to the same things if you grew up in this country – The Beatles; The Stones; Abba; Mud; Sweet – what was playing in the charts. I can write most forms of music really’ he said ‘…but if you’re making a living (from music), you’ve got a fan-base; and you know what your fan-base want to hear. Some of them go to that (pointing to his new album that I’d put on the table) and think “Oh this isn’t Larry!” One bloke said he threw it away! Then he went back to one of my old records and thought “Oh I’ll give it another go”; and then of course he hasn’t stopped playing it since! Its a fine balancing act: you’ve got to move forward, but at the same time keep the guys who pay your bills happy!’ (Surely no one is unhappy with Larry’s last album, are they?)

‘Unless of course you are like Richie Blackmore’ I digressed, ‘…who never gave a toss about his fans anyway, and totally gave up Rock for Folk music without batting an eyelid – much to the chagrin of his fans!’ (Just for the record, I like some of RB’s Folky stuff). We then laughed about Blackmore’s infamous tantrums with Purple and Rainbow (I witnessed one of these for myself at Wembley back in ’79, – but that’s for another blog). Larry quipped that he was ‘…probably suffering from pre-minstrel tension!’

Back to the subject in hand, Rambo observed that: ‘Surely you’ve got to go where your heart takes you?’  Larry agreed: ‘Yeah, if you’ve got an ounce of creativity about you – you are an artist. I never did music so that I’d become rich – it would be nice though! Its like any artist, like Picasso. He never painted pictures to make a lot of money – that would be soulless’ . Its quite clear then that Larry wouldn’t do anything he didn’t want to do. And quite right too.

Larry with '57 Gold Top (Photo: PTMQ)

Larry with his main guitar: a Gibson Les Paul ’57 Gold Top Reissue (Photo: PTMQ)

So I asked what Larry had in the pipeline? ‘I’m working on a double album right now’ he replied, ‘…The Sinner And The Saint. I’ve got about sixteen tracks on it. I consider it my best ever.’ ‘So when is this Magnum Opus due out?’ I asked. Larry couldn’t say yet. Nor would he be drawn too much on it other than saying ‘Its got my normal Blues-Rock content’, and that there’s ‘a mandolin track’ on it. Then he told us ‘I’m a Christian; so its going to be a spiritual one as well’. Larry had anticipated my next question here, as I’d planned to ask about the religious subjects / references that I’d noticed in some of his earlier songs – ‘Bathsheba’ for example. ‘American bands sing quite happily about these subjects but English bands don’t’ he said. That’s probably true enough; apart from The Strawbs, I can’t think, off-hand, of a British band that have handled religion (not including Occult obsessed HM bands!) ‘Everything I write comes from within’ he explained. Anyway, that’s an album I personally can’t wait to hear!

The subject of the young Blues-Rock guitarists came up then – again Larry anticipated the question, as I was going to ask what he thought about young guns like Virgil McMahon; Laurence Jones; and Oli Brown. ‘I know ’em – all nice guys’ he said. ‘Its great that they’re playing it, but I wish their mates would get into it. Its weird … they’re playing to all these old guys!’ I agreed. There aren’t a lot of young Blues fans; and this came up when I interviewed Virgil last October (see my Blog #26). Funny enough, I’m glad to report that my son James and a couple of his mates do love Blues-Rock, and he would  have been there with me that night if he hadn’t been lured away to a cricket match in Chelmsford!

I asked Larry about his forthcoming gig at the Forum in London, supporting Walter Trout for his I’m Back Tour. He is very much looking forward to it as you would expect. Larry didn’t know if Walter had specifically head-hunted him for the gig, but apparently someone close to Walter did say that Larry reminds Walter of himself as a young player – not that Larry is that young of course! But its quite a complement coming from an international giant of the genre like WT.

Mad Dogs! The Larry Miller Band at the Touchline (Photo: PTMQ)

Mad Dogs! The Larry Miller Band at the Touchline (Photo: PTMQ)

Next I asked about his guitars. ‘Ahh!’ he exclaimed seeming to relish the chance of some axe-chat! ‘I take it you’ll be playing a Les Paul tonight?’ I enquired.   ‘Yeah. Well, I’d always been a Strat man’ he said. ‘Because of Gallagher?’ I asked (Larry being a well known fan). ‘I guess so …but they just looked so awesome! I’ve had loads of Strats, but you see lots of Strat players with a slightly thin toppy, grainy sound. I liked Stevie Ray Vaughan’s sound, but …then I saw Bon Jovi at Wembley Stadium. He had all these guitars; and this one guitar sounded really lovely, and it was a Gibson Les Paul ’59 – it was obviously the best sounding guitar there. So I bought a Les Paul in 2002, but I could play a Strat faster, so it took me a while (to get used to it). Then people started to say “Oh you’ve got a great guitar tone”; well they never say that if you’re playing a Strat. But with the Les Paul its a brilliant thick, creamy sound. And if you back off the volume, then it cleans up like a Strat anyway. So now I’m a bona fide Les Paul Player!’ Larry now has three Les Pauls – one of which, a Gold Top ’57 Reissue is his main gigging axe. ‘Its absolutely wonderful’ he enthused.

What about acoustics? He said he used a 1931 National for slide work on the forthcoming album; and he’d be playing ‘just a crummy old thing’ later that night for ‘Soldier Of The Line’ (it actually turned out to be a good-looking, and great sounding Yamaha acoustic tuned to DADGAD). I said I’d be watching closely so that I could try to learn the song. ‘Its bloomin’ hard!’ he warned; then added laughing ‘…well I think so!’ Well if he finds it hard, and its his song, I don’t know what chance I’ve got at playing it!

Finally I asked Larry to sign my CD copy of Soldier Of The Line. He stared at the cover for a while deep in thought; then smiled and wrote ‘To Phil The Music Quill, from Larry The Music Mill’! As well as everything else, Larry has a great sense of humour! He went back stage then and Rambo and I took our seats, reserved for us by Trudie, on Table 1 – right in front of Larry’s monitors. And there we waited….

Soldier of the line - Larry Miler (Photo: PTMQ)

Soldier of the line – Larry Miller with his Yamaha acoustic  (Photo: PTMQ)

At about 9pm Master Of Ceremonies Brian Sangwin climbed on stage  and introduced the band. Larry casually strapped on his Gold Top and plugged in, and after a little banter with the audience launched into the rabid rhythm riffs of ‘Mad Dog’. Like a Rottweiler suddenly released from a cage, he hit us with a full-on display of axemanship and growling vocals! It was a howling success; and that set the pace and tone for the entire gig really.

From the very beginning, you can’t take your eyes off Larry – he is like a presence on stage. Not just because of his consummate fret-board dexterity, which left me open-mouthed at times; or for his powerful vocal style; but also for his on-stage antics: throwing himself about like a man half his age – even running around in the audience at one point! And he kept it up throughout the whole show too! He still has the enthusiasm he had as a fifteen year old – and its infectious! We, the audience, were lapping up everything he did. Clearly he is a man who loves what he does. Quite how he keeps it up night after night, I don’t know.

‘Our Time Is Coming’ was up next – again a power-packed rendition with breath-taking solos – and to paraphrase the lyric, ‘there was nothing we could do about it’! Great applause ensued, and Larry said ‘Really cookin’ isn’t it?’ Then the intro of ‘The Power You Have’ had us clapping along, before the distinctive rhythm riff burst full scale upon us. Another winner.

At this point, Larry introduced the rest of the band. The other members tend to be somewhat overlooked in comparison to the presence and antics of the main man. But they were there alright – and a superb performance they both gave too. On Bass was Derek White; Larry’s long-term gigging bassist. And on Drums, Graham Walker; ex-Gary Moore Band. These two proved themselves to be more than capable as a rhythm section; tight and reliable, and always there to provide the back-bone to the songs, and enable Larry to venture into lengthy abstract solos at will.

(Photo: PTMQ)

(Photo: PTMQ)

Things slowed down a bit then for the beautifully arpeggiated intro to ‘Calling All The Angels’. The angst-ridden lyric he sang with genuine passion; and the lead solo came from deep down in his soul. It was dripping with emotion!  After some more banter he said he’d do his ‘Rory tune’ – a Gallagher-esque Blues-Rocker that would have had his late, great Irish hero nodding with approval.  And thus ended the first set. Only five songs long; but as he explained ‘I can’t help doing solos that are 400 hours long!’ Time for a beer methinks!

The second half began as promised with ‘Soldier Of The Line’. Larry donned his Yamaha acoustic (the ‘crummy old thing’ mentioned earlier), tuned to DADGAD, and after doodling a little, began the very distinctive and beautiful intro to the song. And I must say, it did look difficult to play! But what a faultless performance it was; musically perfect, and sung with genuine emotion.

With his beloved Gold Top back in hand, ‘One Fine Day’ followed. This is the opener from the Soldier…  album; and one of the tracks that make that collection his best yet in my opinion. This live version did not disappoint either. No brass was possible for the outro, of course, so Larry just improvised a nice lead to finish. Only another good rocker from the same album could follow this. ‘Mississippi Mama’ hit us like a hurricane running amok through the Bible Belt! It went down a storm.

He gave us the pure Blues of ‘Missy Mango’ next. Its a simple but effective number that is a perfect vehicle for Larry to improvise over. Another excellent Blues tune followed this; and again Larry showed off his remarkable skills. ‘I Fight Myself’ ended the second half to rapturous applause and a standing ovation. It was well deserved.

During this part of the show, he had been quite brutal with his Les Paul. Volume and tone pots were roughly handled; the pick-up switch was singled out for a fair amount of abuse; but the low-E string was particularly brutalised when he used it to hold the unfortunate guitar aloft and shake it roughly! This all produced the most amazing sounds, and he was remarkably adept at it! In fact, given Larry’s normal string-bending technique – that often rendered at least two semi-tones – he had to frequently retune the thing throughout the gig.

The whole place was on its feet. Encore! was demanded – and duly delivered. Returning to the stage, the boys delivered more of what we desired, in the form of the SRV-esque ‘Rebekah’. Finally, the unmistakable opening riff to ‘Parisienne Walkways’ sounded out from Larry’s Marshall speakers. Teasing us with that searing sustained note made famous by another of his heroes, Gary Moore, Larry gave us a final flourish of his sublime axemanship. Phew!

Thanks to Larry and the lads for a superb demonstration of Blues-Rock at its highest level. I think this is definitely a contender for my Best Blues-Rock gig of 2015. Its difficult to guess who could possibly top it!  Finally, a great big thank you to Dave Kitteridge for arranging the interview; plus Trudie; Brian, and Steve the sound man; and all at the club and the venue for helping to make it a very memorable night indeed.  PTMQ.

Here is a link to Larry’s website… http://www.larrymiller.co.uk/index.htm

Here is a link to Touchline Live Music’s page… http://touchlinelivemusic.co.uk/

31. A REVIEW OF THE YEAR 2014

A couple of my friends have recently asked if I planned to do a review of 2014. I’d like to; but time as always is against me! So I just thought I’d say a few words about the year with respect to my blog. Its been quite a remarkable 11 months since I kicked off with a review of the STRAWBS gig at TOUCHLINE LIVE MUSIC here in Essex. At first, I thought no one would be interested, but I was glad to see that’s not the case. Right from the off, I had quite a few followers. That first Strawbs review has remained one of the most popular too.

I’ve met a lot of helpful and interesting people during the course of the year – not just musicians; but promoters; writers; photographers; or just knowledgeable music lovers.  Some of those musos I have been a fan of since my teens  – MICKY MOODY and MARTIN TURNER to name but two especially. Its also very flattering when some of these musicians have personally invited me to gigs and sent CDs for me to review as well.

Anyway, here are just a few thoughts and facts on my blog’s year….

MOST POPULAR BLOG was #25, MTWA at Touchline Live Music. Second was The Move at the Boom Boom Club (#15). In third place was MTWA again (blog #5); and fourth. The Micky Moody Band at Coolham (#23). I’m glad to say that these entries are still attracting new readers through search engines too.

BEST ROCK ALBUM must go to VIRGIL AND THE ACCELERATORS for their superb second studio album Army Of Three. It was very flattering to be put on the Guest List by Virgil, and to meet and interview the band before their gig at the Touchline. (Blog #26). Looking forward to seeing what VATA will be up to in the new year.

BEST ROCK GIG for me was a difficult choice. I saw fabulous performances from THE MOVE; VATA;  and the THE STRAWBS. But I’d say MTWA at The Touchline just wins by a whisker (Blog #25). Nice of Martin Turner to agree to an interview beforehand too. This coming year, so far, I plan to see FOCUS and the PINK FAIRIES.

BEST BLUES-ROCK ALBUM. Difficult! Could be LARRY MILLER’s Soldier Of The Line;  BERNIE MARSDEN’s Shine; or  LAURENCE JONES’ Temptation; but I’d choose DEBORAH BONHAM’s Spirit I think. I was hoping for an interview with her too, but she unfortunately had to cancel her gig at the Touchline due to a chest infection.

BEST BLUES ALBUM: I enjoyed JAMES ANTHONY’s Some People Get It, which he sent from Canada for me to review. (Blog #24); and MILTON ‘n’ FARROW’s Skiffleodeon – also given to me by the band to review (Blog #22). RUBY TIGER’s Vistas was excellent as was MATT ANDERSEN’s Coal Mining Blues; but I took a shine to DANA GILLESPIE’s Cat’s Meow the most.

BEST BLUES GIG is another tough choice. Great shows by COCO MONTOYA (Blog #14); MICKY MOODY BAND (Blog #23); and RUBY AND THE REVELATORS (Blog #16); but the best for me, was the very special show put on for the BOOM BOOM CLUB’s 1,000th gig; which included superb performances from OTIS GRAND; ALAN DARBY; LAURENCE JONES and THE VOODOO SHEIKHS among others (Blog #30). In 2015 I’d like to see RED BUTLER and LARRY MILLER if I can.

BEST FOLK GIG  I attended during the year was OXJAM MUSIC FESTIVAL in Exeter. A great selection of West Country folk acts in one afternoon. I was invited by my good friends in DEVONBIRD who played a wonderful little set – as did every artist present. (Blog entry #28).

BEST FOLK ALBUM in my opinion was ANGE HARDY’s The Lament Of The Black Sheep. I’m hoping to review soon (see Blog #32).  Also in 2014, I heard ADRIAN NATION’s second album Fall Or Fly, which is excellent. As for 2015, I’m looking forward to the second DEVONBIRD album which should be released in the spring – they are recording as I write. For info on Devonbird, see Blog #4.

DOWNSIDES. I had a couple of negative comments made to me during the course of the year – one due to a misreading of my blog; and one due to a certain curmudgeonly singer-songwriter who wrote unpleasant and untrue things about me – even after I gave him a good review!  I never intend to cause offence – in fact, I’ve been criticised for liking everything! Well, I do seem to! (I suppose if I didn’t like something, I wouldn’t write about it). Anyway, the vast majority of those I’ve written about; and my readers too, have been very complimentary and supportive indeed; so I didn’t loose any kip over it!

REGRETS: ‘…..I have few, but then again, too few to mention’! These surround missed gigs. I was particularly peeved at missing LARRY MILLER; and TERRY REID because I couldn’t get time off work; and DEBORAH BONHAM’s gig at the Touchline was cancelled (as I said above) due to the fact that the poor lady had a chest infection.  I hope she’s well now and will play there soon.

FUTURE PROJECTS include a review of Ange Hardy’s Black Sheep album; an article on my friend, the song-writer TONY PARTIS; and continuing to go and see as many and as varied gigs as possible. I also plan to get into the studio myself to try to record some of my own songs (for what they’re worth!). And I shall continue to support and promote my friends’ projects too.

A SAD FAREWELL to those musicians who sadly passed away in 2014:  JOHNNY WINTER (See my blog #17); JACK BRUCE; JOE COCKER; PHIL EVERLY; ACKER BILK; PETE SEEGER; BOBBY WOMACK; TOMMY RAMONE; ALVIN STARDUST; and LYNSEY DE PAUL. These luminaries will be sadly missed; but leave us a fine legacy in their work which their fans will cherish for all time. R.I.P. (My apologies if I’ve forgotten anyone).

THANKS to all those who have supported; encouraged; offered constructive criticism; advice; photos; and other pics; and generally taken the time to read my blog. Those people are too numerous to mention but they know who they are; so thank you one and all! Here’s looking forward to more of the same in 2015.

HAPPY NEW YEAR! PTMQ

30. AN EVENING FOR WALTER TROUT. Featuring OTIS GRAND; ALAN DARBY; SONJA KRISTINA; LAURENCE JONES; and THE VOODOO SHEIKS. The 1,000th gig at the BOOM BOOM CLUB. Friday, 28th November, 2014

PETE FEENSTRA: Promoter and Master of Ceremonies at the Boom Boom Club (Photo by CGM)

PETE FEENSTRA: Promoter and Master of Ceremonies at the Boom Boom Club (Photo by CGM)

 

This gig was originally billed as AN EVENING FOR WALTER TROUT – with  The Walter Trout Band (without Walter, of course as he is still recovering from illness), but featuring his son, JON TROUT; LAURENCE JONES; ANDREW ELT; and MITCH LADDIE. And many people (including myself) were very much looking forward to it. However, just a few days before the show, we heard that the plug had been pulled on the whole WTB tour – and to be honest, I don’t fully understand why. This was disappointing enough, but left PETE FEENSTRA of the BOOM BOOM CLUB with a double sticky wicket, as not only did he need a gig for the Friday night, but it was also to be a celebration of 1,000 gigs at the venue – a very special milestone in the history of the club indeed! Drastic action was required, sharpish!

Thankfully, ‘The future of British Blues’ Laurence Jones agreed to play anyway (a big plus as he is very well liked at the club); and Pete managed to get together some other very good musicians for the line-up at short notice. As well as LJ; he roped in OTIS GRAND; ALAN DARBY; SONJA KRISTINA (of CURVED AIR); and THE VOODOO SHEIKS. Backing musicians too (of whom, more later) had to be shackled together ASAP.

Now, I like the Boom Boom Club, although its a fair trot from where I live. But if something special at the venue is going down, I’ll drive over and stay with cousin Charlie who is a big music fan and lives locally. This means I can sink a few pints as well! Charlie is also a keen photographer, and often comes along to take photos for me; and this he agreed to do tonight, of course. My son James came too as he’s a great fan of some of the very talented young Blues and Rock guitarists (like Jones)  that seem to have emerged lately (I’m glad to say); and sometimes accompanies me to gigs.

We tres hombres arrived early at the venue to have a chat with a few people I wanted to speak to – not to mention  to take advantage of the free drink that had been offered to the first 100 punters! So, gratis pint of Bombardier in hand, I spoke to the guv’nor Pete Feenstra about a couple of things; and I was also keen to have a word or two with fellow music writer NIGEL FOSTER (who had got an excellent review of this gig on line within a few hours).

VOODOO SHEIKS: A white-knuckle Blues ride! (Photo by CGM)

VOODOO SHEIKS: A white-knuckle Blues ride! (Photo by CGM)

Before long, Pete (in his role as master Of Ceremonies) was on stage welcoming we punters and explaining that all the proceeds from the gig were to go towards Walter Trout’s on-going medical treatment. Then he announced the first act:  the Sussex-based Voodoo Sheiks. I’d heard the name and was keen to see them live. They are a four-piece R’n’B outfit consisting of ‘SLOW-BLOW DAVE’ MAGSON (Vocals & Harp); ADRIAN THOMAS (Guitar & Backing Vocals); ANDY PULLIN (Bass); and JOHN COOMBES (Drums).

There is no messing about with this band: right from the off – with a song called ‘The Thrill Ain’t Gone’ – you know that you’re in for a white-knuckle ride of Blues at the R’n’R end of the spectrum. Before we had time to take a breath, they followed up with ‘Automatic’ featuring ‘Slow-Blow Dave’ on Harmonica. Then they gave us a good new song called ‘Have A Heart’ (from their forthcoming album) – great use of the Wah-Wah from Adrian on this one. Next they covered JOHN LEE HOOKER’s classic ‘Boom Boom’ – and what more appropriate song could be played at this club for this gig?  Excellent.

The band slowed things down a lot then, playing ‘Exit Wound’ – a slow, mellow 12-Bar. I loved it. Nice solo from Adrian.  This was followed by the lively ‘Spirit’ –  an original composition from their Borrowed And New album. ‘Can’t Keep A Good Man Down’ kept us up and rockin’; and their final offering was another from their Borrowed… album, ‘I Wouldn’t Treat A Dog That Way’.

This was a good little set from a very good band indeed. The rhythm section were impressively tight and competent; ‘Sow-Blow’ was great on vocals and harp (and entertainingly animated as a front-man!) But I was most impressed by Adrian’s playing; and guitar sound.  I spoke to him briefly after their set. He played an  ERNIE BALL MUSICMAN SILHOUETTE SPECIAL through a BLACK STAR amp. I must say, this gave a very impressive sound throughout; for both rhythm and lead work.

LAURENCE JONES: Golden Boy of the Boom Boom Club! (Photo by CGM)

LAURENCE JONES: Golden Boy of the Boom Boom Club! (Photo by CGM)

Next on the Bill was the Golden Boy of the Boom Boom Club – the young and very talented Laurence Jones. He was accompanied by his usual Bassist, the incomparable ROGER INNIS; but his drummer MIRI MIETTINEN unfortunately couldn’t make it, and so had to be replaced by IAN PALMER for the night. (Who, incidentally, is the nephew of legendary Prog-Rock drummer, CARL PALMER).

Gold Top in hand, LJ’s set opened with ‘Can’t Keep Living Like This’ from his latest album Temptation.  It was a rousing start; LJ immediately impressing with guitar and vocals. After thanking the fans for their avid applause, he posed the question: ‘Are you ready to hear some Blues?’ Oh yes! And the lively ‘You Wind Me Up’ continued the Heavy Blues vibe. Changing to a Strat, he gave us his moody ‘Southern Breeze’ next; and followed it with his song inspired by his confrontation with a huge ‘dirty rat in my bed’ in Louisiana:  ‘Soul Swamp River’. Standing at the front of the stage he sang confidently without mic for part of the song.

One of LJ’s favourite songs is the iconic, ‘All Along The Watchtower’.  He has made this his own to some extent, and it has become a regular part of his set – and a firm favourite of his fans too. Again standing front of stage, he played a blinding solo right in front of our little party; and we were treated to a master-class in lead guitar at close range. ‘Foolin’ Me’ (the opener from Temptation), followed. Its a great rocker. There was only time for one more number: ‘Fall From The Sky’ finished the set. This a well-constructed melodic rock song; during which we were encouraged to sing along.  All in all, very enjoyable little set.

This was the third time I’d seen LJ live – all three times at the Boom Boom Club – and the third time I’ve been impressed with his performance. (see my blog entry #14). He has noticeably improved yet again in only the six months since I saw him last. He is more confidant; more relaxed; more skilful – and with stubble on his  face, he doesn’t look like a boy any more either! Roger was outstanding with his monstrous 6-string Bass as usual; and there is a good on-stage interaction between the two; both musically and personally. Stand-in drummer Ian Palmer did a very fine job too. I was a little disappointed that we didn’t hear ‘Move On’; but with so much to get through, set-time was obviously limited.

SONJA KRISTINA: Acid-Folk diva! (Photo by CGM)

SONJA KRISTINA: Respected Acid-Folk diva! (Photo by CGM)

It was time for a significant change of pace then, as SONJA KRISTINA (of Progressive Folk-Rock veterans CURVED AIR), took to the stage with only her keyboard player ROBERT NORTON – and a  very distinctive Washburn acoustic in hand. Unannounced, she began her set with the hauntingly beautiful ‘Citadel’ (from her Songs From The Acid Folk album). This was followed by ‘Colder Than A Rose In Snow’, which is from the same collection; and also on Curved Air’s new North Star album. It has the same vibe about it too. She gave us her ‘Melinda More Or Less’ (from Phantsmagoria) next – a classic originally penned in 1967.  She followed this with her cover of Lennon and McCartney’s song ‘Across The Universe’ – a nice version of an old classic. Sonja then said she’d do one more. ‘Back Street Luv’?  I asked from the audience. ‘Yeah’ she replied ‘….a kind of acidy-folky ‘Back Street Luv”. I love the original of this song, and I loved this ‘acidy-folky’ version too. It was nice for me to see it performed live after all this time as well.

I thought it was a good little set. There were a couple of  people around me  who voiced an opinion that perhaps this wasn’t a suitable set for the Bluesy vibe of the evening, but I couldn’t agree – I thought it made for an interesting change of pace in the proceedings; and introduced a little variety.  Having said that, I think I’d rather have listened to it in the laid-back comfort of a sleepy Folk club, but I enjoyed it very much nonetheless. Sonja was in good voice throughout, and Mr.Norton was impressive on the keys.

Could have ben in Chicago - Grand, Jones and Darby (Photo by CGM)

We could have ben in Chicago! Grand, Jones and Darby (Photo by CGM)

The headliners for the night were then introduced by Pete: veteran guitarists  OTIS GRAND and ALAN DARBY; backed by GLYNN EVANS (Bass); MUNCH MOORE (Keys); and Ian Palmer once again (Drums). This was a band hastily coupled together at short notice, and most of them had never played together before. So what we were about to witness was  testament to their professionalism, experience and skill.  As soon as we heard the first few licks, we felt that we’d been spiritually transported to a Blues club in Downtown Chicago! And that vibe stayed put right through the set; as what was to follow was a demonstration of pure Urban Electric Blues at its best.

Darby (tooled up  with beautiful looking Firebird); and Grand (armed with a red Strat sprayed gold – and wearing a remarkable Mexican Mariachi suit) immediately  launched into ‘A Man Like Me’ – the suit entirely appropriate for the Latin-Blues vibe of the number!  Sharing vocals and swapping solos, our two lead guitarists led us into a classy Blues wonderland.  It was an impressive start from a group of musos not at all used to playing together as a unit. And if anything,  the next offering was even better; as they then hit us with a sublime version of ‘There’s Gotta Be Changes Made’ – a laid-back Chicago Blues to close your eyes and drift away to. The two of them duelled solos for a good eleven minutes  – and I loved it!

Welcomed back on stage then was Laurence Jones. He’d already proved that he can hold his own with the old masters – I’d seen him jam impressively with Walter Trout on this very stage 18 months before. This time with a Telecaster, LJ immediately took to the mic for ‘Easy Baby’ – he and the other two, with faces contorted in ecstasy,  jammed in turns; improvising from the heart for another lengthy demonstration of their art. There then followed an up-tempo untitled instrumental shuffle; again show-casing their collective skills.

Feenstra retuned to the stage once again then; introducing the formidable rhythm section of Evans, Moore and Palmer, and emphasising that they’d only met this afternoon and had been ‘…working their socks off here tonight!’. There was time for one more he said. It was ‘Looking Good’ – in both title and performance. Grand and Darby traded licks superlatively; and when they finished, the applause was deafening. Fantastic!

After the gig Otis soon appeared at the bar, and I tackled him. I asked if he remembered the JOHNNY WINTER  gig back in ’92  where the Blues expert RAY TOPPING and myself met him backstage. (See my blog entry #17). He said that he did, so I told him Ray had since passed away; and we spoke of Ray’s famous vinyl collection (God knows what happened to that after he died). Then someone asked about the Mariachi suit. Otis said he bought it from a Mexican who happened to be the same size!  After a couple of photos, and a bit more chat, we left Otis to speak to some others.

At the merch desk we spoke to Laurence Jones, and congratulated him on a fine performance. We spoke of his nomination for the UK Blues Challenge (‘The Battle For Brussels’), which is to be held at the Boom Boom Club on 11th December (which sadly  I cannot now attend).   Unfortunately I didn’t see Alan Darby, or Sonja Kristina; I’d like to have had a word with them too. And I missed the opportunity to speak to the two bassists, Glynn Evans and Roger Inniss. But I did have a little chat with Pete and Nigel again.

Kudos to to Pete, Eric, and all the staff at the Boom Boom Club (including the hard-working ladies behind the bar) for their marvellous efforts in getting this milestone show up and running; and to all the very talented musicians who made this a most memorable experience. Thanks to Charlie for the excellent photos; and Phil Honley for the video.  Looking forward to the next 1,000 gigs at the club! PTMQ

Here’s a Phil Honley video of Grand and Darby playing ‘There’s Gotta Be Changes Made’ . Other videos from Phil from the same show are also on You Tube……

23. THE MICKY MOODY BAND (featuring ALI MAAS) at COOLHAM VILLAGE HALL. Sunday, 12th October, 2014; and a few words about TAME PROMOTIONS and the Sussex Blues scene.

An empty stage at Coolham Village Hall; awaiting The Micky Moody Band (Photo CGM)

In recent months I’ve become aware that there is a good healthy Blues scene going down in Sussex. (For those of my readers who are not too familiar with the geography of England; Sussex is a picturesque county of beautiful hills and quaint old towns on the south coast of England; only an hour or so drive from South London; and well worth a visit).   Now I hadn’t visited Sussex for some years, so I was totally ignorant of this burgeoning phenomenon, until I was kindly invited by Blues singer RUBY TIGER to one of her excellent gigs (in Chichester) back in July (See my blog entry #16), and was pleasantly surprised at how popular the genre has become down there.

A lot of credit for promoting Blues in the area should be attributed to the non-profit making TAME PROMOTIONS of Coolham.  GRAEME TAME – ably assisted by friends SARAH REEVE and RICHARD DONNELLY – have quite recently started booking Blues acts in the local village hall; and are starting to attract some big names.  In just their first few months they’ve already hosted: BEN WATERS; JO HARMAN; PAPA GEORGE; SAM KELLY; LARRY MILLER; RON SAYER; THE ALI MAAS BAND; and the brilliant BUDDY WHITTINGTON. Waiting in the wings for an appearance soon are: EDDIE BLUE LESTER; AYNSLEY LISTER; WILL WILDE; KATIE BRADLEY; and the remarkable LAURENCE JONES, among others.

So, a couple of months ago when Sarah Reeve alerted me to the fact that the formidable veteran Blues-Rock man, MICKY MOODY was to play Coolham with his band, I of course, immediately contacted Graeme Tame to reserve some tickets. This is a big name for Tame Promotions to get on-board; and is a measure of their current standing within the music business.

Mr.Moody sporting Flying Finn with thumb-pick and bottle neck (Photo: CGM)

Mr.Moody sporting Flying Finn with thumb-pick and bottle neck (Photo: CGM)

I’ve been a fan of Micky Moody for well over 35 years, now. He first came to my attention as a founding member of DAVID COVERDALE’s post-DEEP PURPLE band WHITESNAKE, back in ’78. Before that, he had, of course, been the JUICY LUCY axe-man.  Since leaving Whitesnake, he’s been a member of many a Rock and Blues band: THE YOUNG AND MOODY BAND; THE MOODY-MARSDEN BAND; 3M; THE SNAKES; COMPANY OF SNAKES; WILLY FINLAYSON AND THE HURTERS; to name but a few; and is currently part of the Rock group SNAKECHARMER who are currently flying high.  He has also worked with just about everyone of note in the music industry over the years – too numerous to mention here. Suffice to say that he is one of the most hard-working, consistent, and ubiquitous guitarists currently working in the UK – he knows his way up and down a fret-board just a bit too!

But his presence in Coolham this afternoon was with his own Blues outfit, THE MICKY MOODY BAND. He’d already played a gig at this venue the night before (along with support act, local band CATFISH – who wouldn’t be present for the Sunday show), which unfortunately I was unable to attend, but which apparently was a resounding success.

The band currently consists of some very experienced musicians indeed. As well as Mr. Moody himself on guitar; there is, ALI MAAS on vocals (who with her own band is making quite a name for herself on the local Blues scene); PETE REES on bass (From the late, great GARY MOORE’s band); and TOM COMPTON on drums (14 years with the recently deceased Blues leviathan, JOHNNY WINTER – see my blog entry #17).

I arrived at Coolham’s local pub ‘THE SELSEY ARMS’ (where the band were staying) with cousin Chas and my Missus in tow. Charlie is a bit of a photographer as well as a big music lover, and was more than happy to take photos as required. We had a meal booked for One O’Clock, with the band due on-stage at 4pm.  I’d arranged to meet Graeme there, and after a Sunday lunch of humongous proportions, we decamped to the village hall.

The Micky Moody Band in full flight (Photo: CGM)

The Micky Moody Band in full flight (Photo: CGM)

Coolham Village Hall is a lovely little place; which apparently can only accommodate less than 100 people. That makes for a very cozy, intimate venue – not the sort of place you would naturally expect to find someone of the calibre of Micky Moody to play. (I saw him with Whitesnake at the READING ROCK FESTIVAL, 1980, in front of 30,000 punters!). But the fact that he and his band agreed to do so, is a measure of the respect they hold for their fans – whether they be present in large, or small quantities!  By all accounts, the night before had been a rockin’ success; but the place was far from full on the Sunday. Still, everyone there was keen to see the show.

As the band had played at the same venue the night before, there was only a little setting up and tuning up to be done. (during which Micky played the ‘Dad’s Army’ theme – and why not?) We had a little chat with the singer, Ali Maas; and then the band went back-stage to get changed. Micky had 3 guitars sitting, waiting on the stage; and I resolved to have a chat with him about them, later if I could. The band emerged after a good introduction from Graeme Tame to great applause.

Micky, armed with a blue Hagstrom guitar, bottleneck, and thumb-pick; immediately started proceedings by launching the band into a good rendition of ‘Same Blues’; with Ali in fine voice. Changing his three guitars (Les Paul; Hagstrom; and Flying Finn) frequently, Micky’s first-half set continued with various well-rendered covers: MAVIS STAPLES’ ‘Mississippi’; and  MUDDY WATERS’ ‘Brand On You’; ‘Taste Of Bourbon’ (which Micky sung);  and ‘Soon Forgotten’.  ‘Retail Therapy’, a newly penned song, followed; and it incorporated a few bars of ‘Day Tripper’. A nice version of The Stones’  ‘Gimme Shelter’ finished off Part One. It included a vignette of ‘Honky Tonk Women’ (well, if you’re covering KEITH RICHARDS’ slide-work in Open-G, you may as well, I suppose!) before reverting to ‘Gimme Shelter’ to the end. Excellent!

Moody and me: Half-time chat (Photo: CGM)

Moody and me: Half-time chat (Photo: CGM)

At half-time, I collared Micky for a chat. I’ve never met him before, but I wasn’t surprised to find that he is a very approachable and down-to-earth kind of bloke, who has the time to talk to his fans. He told me about the three guitars that he’d brought with him for the Coolham gigs: a Gibson Les Paul Gold Top (standard tuning); a lovely blue Hagstrom (Open-D tuning); and a beautiful Flying Finn ‘Micky Moody Signature’ (in Open-G). And why those particular three from his large collection of instruments, I hear you ask? ‘They were nearest the door when I left home!’ he quipped. He had them plugged into an Orange amp, and out to a standard 2 x 12 Marshall speaker; with the required FX (including wah-wah). We also talked about the British Blues scene. We agreed that it is currently in fine fettle; with young guitarists like LAURENCE JONES and OLI BROWN currently making a name for themselves. He also invited me to THE RED LION in Isleworth to see him play with PAPA GEORGE – now that’s an offer you can’t refuse!

Part Two kicked off with EDDIE BURNS’  ‘When I Get Drunk’. This was followed by an original Moody piece – written, he said ‘…in my Victor Meldrew mode!’  Its title: ‘Get Off My Back’; and he took the lead vocal while Ali did backing. It was more to the Rock end of the Blues spectrum than anything else played at the gig; and featured a superb wah-wah solo.

Two ETTA JAMES’ songs were up next: ‘Cry Like A Rainy Day’, which Ali sang beautifully, demonstrating her remarkable vocal skills; and ‘Gotta Serve Somebody’ for which Micky used the Les Paul again with capo on the 3rd fret. This cleverly incorporated the old Whitesnake song ‘Lovehunter’ (co-written with ex-band-mates DAVID COVERDALE and BERNIE MARSDEN back in ’79); and featured another excellent wah-wah solo before returning to ‘Serve Somebody’.

Ali Maas: remarkable vocal skills (Photo: CGM)

Ali Maas: remarkable vocal skills (Photo: CGM)

MEMPHIS MINNIE’s ‘Girlish Days’ followed, during which Ali confidently sang (in part) unaccompanied. Great slide again from MM on the blue Hagstrom. Another old Whitesnake favourite followed: ‘Slow’n’Easy’ from the “Slide It In” album of ’84; again co-written with DC. Some audience participation was required for this one. Then It was time for another Muddy Waters song –  the oft-covered ‘Rollin’n’Tumblin’, which MM sang and show-cased his slide guitar skills. This was followed by  ‘BIG MAMA’ THORNTON’s ubiquitous ‘Hound Dog’ which finished Part Two to great applause.

Graeme Tame took to the stage again then; but the audience needed little encouragement to get the band back for encore.  They played the staple ‘I Just Wanna Make Love To You’. Ali gave it her all, like she really meant it; and when Micky’s Les Paul made love to the Orange-headed Marshall, a suitably dirty-sounding solo ensued! Our lust for good quality Blues satisfied, we applauded for the final time, as these superb musicians left the stage.

Ali soon returned to the auditorium. We had a nice little chat; and Charlie took some final photos. Graeme invited us to further gigs; so I hope we can get down to Coolham again soon. The drive back to Essex was a two-hour nightmare in the pitch-dark and pouring rain (I could have written a Blues song about it – I was in the mood after all!) It was a fantastic little gig though, and well worth the trip to Sussex. Thanks to the band, and Graeme Tame and his associates for providing us with a great afternoon. Cheers, all!

PTMQ

14. COCO MONTOYA (+ LAURENCE JONES) at THE BOOM BOOM CLUB, Sutton, Surrey. Friday, 23rd May 2014

'LAURENCE JONES - The future of British blues-rock' (Photo by PTMQ)

‘The future of British blues-rock’ Laurence Jones (Photo by PTMQ)

I hadn’t been to The Boom Boom Club for a few months. Although I like it there, I don’t live that close, so it has to be an exceptional artist that brings me along! So when I heard that promoter PETE FEENSTRA had booked the great bluesman COCO MONTOYA (who I’d never seen live before), I had no hesitation in getting a place booked (via cousin Charlie who lives nearby). To add icing to the cake LAURENCE JONES was to be the support act – had to be a winner of a gig!

Charlie and I arrived early and found ourselves a place at the front of the stage; eagerly awaiting the show. Support act Laurence Jones was soon climbing unpretentiously on stage, and launched into ‘Can’t Keep Living Like This’ from his new album “Temptation”. It was a whirlwind start to a breath-taking set of exceptionally good music from a young guitarist, who music writer NIGEL FOSTER describes as ‘the future of British blues-rock’, and I think that’s a fair comment. Its quite a compliment considering he’s up against the likes of: DAVY KNOWLES; OLI BROWN; and VIRGIL McMAHON.

Now I last saw Jones at this same venue almost exactly a year ago, supporting the veteran bluesman WALTER TROUT (who as I write is unfortunately seriously ill back in the USA – and no doubt all blues fans are praying for him). I remember being impressed at the time by this young lad; but what a difference that year has made! He is noticeably far more confident than he was last May; and his chops are greatly improved – his Strat’s fret-board was his, to be used as gently or as roughly as he saw fit – with equal precision. It was a nice touch when he dedicated the title track ‘Temptation’ to Trout, his hero, who guests on the new album; and I must say, he did the old master proud. Another highlight for me was his version of Hendrix’s ‘All Along The Watchtower’. This is often covered, of course, but Jones didn’t slavishly stick to the Hendrix format; rather making it his own, with a lengthy but interesting solo that show-cased his considerable skills. And a bloody good job he made of it too! I also liked ‘Fall From The Sky’ a lot; and ‘Soul Swamp River’ which he sang (partly) without a mic at the front of the stage.

Mention must be made of Jones’ excellent band too. I think these are a different bassist and drummer to those I remember from a year ago. Finnish drummer MIRI MIETTINEN was a reliable powerhouse at the back of the stage; and ROGER INNISS was exceptional with his monstrous 6-string bass, the size of a scaffold-board! But, Christ, could he play it!

I spoke briefly to LJ after the show, and found him to be a very nice bloke – modest and affable. Now that the tour with Montoya is finished, he tells me he’s off to the RORY GALLAGHER FESTIVAL in Ballyshannon, Ireland; along with another old veteran favourite of mine, BERNIE MARSDEN. With the company he keeps this boy is going far! I notice he’s back for a gig at THE NEW CRAWDADDY CLUB here in Essex in June – that’s one for the diary. (Just realised, its only a couple of weeks away!) Anyway, good luck to you, LJ!

Half-time was unusual: normally the intervals at gigs are filled with beer and music blah blah (and fair enough too!); but after Pete Feenstra had finished plugging the next two gigs over this Bank Holiday weekend, Nigel Foster got up on stage to present him with a special award for all the hard work he’d done in promoting all sorts of music acts over the years. It was well deserved, and Nigel summed it up excellently with some very well-chosen words. Charlie and I also got talking to the photographer JENNIFER NOBLE of BLUES MATTERS magazine and her husband. She is a big blues fan; very knowledgeable; and quite a character.

Coco Montoya -  now that's what I call the blues! (Photo by PTMQ)

Coco Montoya – ‘now THAT’S the blues!’ (Photo by PTMQ)

Now for the main event. I’d been waiting a long time to see Coco. In my mind I always lump Montoya, Trout and BUDDY WHITTINGTON together – all big American bluesmen from the prolific JOHN MAYALL’S BLUESBREAKERS stable. I’ve seen Trout and Whittington several times (and my son James and I have had the honour of meeting them both too. Unfortunately James couldn’t make it tonight), but I’ve been waiting for Montoya for years; having never seen him live. Tonight was to complete the trinity.

Coco Montoya and his band; consisting of Nate Brown on bass; Brant Leeper on keyboards; and Rene Beevers on drums; took to the stage to great applause. Brandishing a brilliant blue left-handed Strat, fitted with a right-handed neck; the big bluesman kicked off his set with ‘Wish I Could Be that Strong’. It was a great opener, and was quickly followed by ‘Hey Seniorita’, with its latin feel. Various favourites followed, including: ‘Too Much Water Under The Bridge’; the funky ‘Don’t Go Makin’ Plans’; and finishing with ‘Three Sides To Every Story’.

Coco’s repertoire is a blend of various well-known bluesy vibes – both traditional and modern in style; yet all of it with Coco’s personal stamp of genius at its core. The influence of his original mentor, the late great ALBERT COLLINS, is manifest; and the tutorship of JOHN MAYALL is apparent; but his feeling and understanding of the blues obviously comes from deep down inside. Jennifer Noble summed it up succinctly to me half-way through the set: ‘Now THAT’S the blues!’ she said.

I met Coco after the show and had a brief chat with him. We talked about his blue lefty Strat; and about flying back to the USA next day. He is like many great musicians: modest and approachable; and has a genuine love of, and gratitude towards his fans. He told me he’s not going to leave it so long this time before returning to the UK for another tour – let’s hope he means it as I think everyone there would be up for another Coco gig ASAP! Thanks Coco – it was a fantastic night!

A final word should also be said about the hard-working bar staff at the Boom Boom Club – you never have to wait long for a pint, and you are always served with a pretty smile – A BIG THANK YOU LADIES!

Here is a vid of Coco in action at this very gig…..

May the Blues be with you! Phil The Music Quill