A self-titled debut from Teresa Watson Bandis a clarion call I am back says Teresa in fine voice. Teresa has on her return to the vibrant North East blues scene surrounded herself with musicians that compliment her crushed-velvet vocals; smooth with an edge. Three members of the Groove-a-matics in the mix are guitarist John Whitehill and the rhythm section of bassist John Morgan and Barry Race on Drums. Joining this trio adding the extra tone is her long-standing keyboard player Paul Donaldson on Piano.
The ten tracks of carefully selected songs opens with Come On Mama, Earl Randall/Willie Mitchell number, the melodic cry of the vocals and the determined beat underlying the song works perfectly; a band in harmony. There is from the oft an innate understanding between the musicians as Teresa sings Come To Mamma; with a mix of reflective yearning and a demand I am in charge.
Half-way through the album, Whitehall’s guitar acts as a melodic punctuation for Teresa as Leap of Faith reflects that it has taken self-belief to re-launch her career after a six-year break where she was sorely missed by her fans. Piano opening on Angel Of Montgomery a John Prine number, is the perfect foil of beat and tone for Teresa’s vocals full of yearning drama as the instrumentation grows.
Willie Dixon’s I Just Wanna Make Love To You is often covered and revitalized by this arrangement that suits the style of the band with its driving energy and reflective demands. The blues is strong throughout the album, tinted with soulful phrasing from Teresa Watson. As the album fades away you are left with the warm glowing memory of Need Your Love So Bad, slowly sung with a simplicity. The last number needs no introduction, here sung and played with an elegance that lingers.
Teresa Watson Band, delivers on their debut an album that is full of soulful blues, well sung, with the instrumentation shaped for the vocals. The album will be a welcomed addition for anyone who sees the band live and will via on-line sales increase the profile of a band that plays music that will always be pleasing to the ear.
Debut Album Big Blue from Shortstuff No Longer Lost
There is nothing Short about Big Blue! The duo of Dave Thomas & Hugh Gregory are not playing Stuff, it is most definitely acoustic blues with a sense of humour, panache and energy. You may not have heard of this pairing, this is a debut album delayed by over forty years of a pair that once enjoyed a residency in the Half Moon Putney back in the mid-seventies. Big Blue is a tale of lost and found, in 1975 having recorded some tracks from a live set; the tape was lost. It was then found in a Hackney attic, dusted off and with some later recordings the album was born.
The nine tracks all come from a variety of artists and are a pick n’mix of delights. The covers reflect their influences from J.J.Cale ; Ry Cooder and John Martyn.
The opener is blues with a lazy, hazy feel as Johnny Cash’s oft covered number Hey Porter is re-styled. Setting the scene, it is acoustic played with a crispness full of textures that punctuate the lyrics. With the spicy addition of Steve Jinks’ percussion and bass on several tracks adding another delightful tonal texture, as the duo are Sitting in The Rain this jaunty version of the John Mayall number has an energy, a familiarity that fills the speaker with a warmth, redolent of the power a duo creates when the music is really good.
The covers have been selected with care, re-arranged so that the soul and energy of Thomas & Gregory captured in the phrasing and delivery, full of confidence and love of the Blues, with two J.J. Cale numbers Magnolia & Same Old Blues being exemplary. Magnolia is as sweet as the flower, full of short-lived perfection a stand out number on the album of sparkling gems. The tempo kicks its heel up as the dance beat is captured on Dan Hicks’ O’Reilly at The Bar. Followed by a traditional number Honeybabe is juicy music thoughtfully conveying the history of the sound stretching back to the unknown.
Swirl in some Terry McGhee and The Mississippi Sheiks the album is full of interest. Closing out with Love’s A Disease you are left with a warm feel of having listened to blues sung and played well. Welcome back, Bluesdoodles is definitely delighted that what was lost has been found creating a debut album Big Blue from Shortstuff.
Bluesdoodles recommendation to you is, switch off the phone, lock the doors sit back in a comfortable chair press play and Big Daddy Wilson’sNeckbone Stew will warm you aural senses as you are drenched in the music of Southern States of America.
As we step into the musical journey we start off at Cross Creek Road, opening with a deep, tuneful acoustic number reminding me of Eric Bibb in tone and texture. The title track reflecting the gospel intoning with his soulful vocals, stepping back to a time when he sang in Church back in Edenton, North Carolina. Then with a stylish swirl the beat picks up with a reggae rhythm overlaying vocals sung in a traditional blues style, the musicianship from his trio and guests makes the whole album sizzle with music that is soul food for your ears. Big Daddy’s combination of vocals that cajole and percussive beats are joined by bassist and vocalist Paolo Legramandi; completing the threesome is multi-instrumentalist
Cesare Nolli, Guitar, Drums, Percussion, Keyboard and Vocals. This threesome delivers on every track. The piano introduces us to Tom Cat and guitar that pulls us into a holler, in homage to his father John Henry Wilson. The emotion is raw and genuine the tone full of mournful intricacies. Follow that! Easy when you are Big Daddy Wilson with a number he wrote with Eric Bibb He’ll Make Away. A number that would sit with ease on any Bibb album it shows the versatility and dexterity of delta inspired traditional southern music.
Now a cover, no it is a complete rearrangement as Tracy Chapman’s Give Me One Reason is re-shaped into a delta-blues number, with the winning combination of Big Daddy’s vocals and Ruthie Foster. This is a stew that is shaped by delicious sounding varied music. We visit the love of bad food, with Cookies Gonna Kill Me. A real change for whiskey going to kill me blues. Up beat country fair dance tempo as Eric Bibb joins him on guitar and must be the first tine sugar diabetes has been a line in a song.
Closing out with The River, full of evangelical fervour with Big Daddy Wilson imploring the preacher is this a sign, slow and with an emotive edge. Closing the album with Peanut Butter Pic; up beat country blues that gets your feet tapping and now you are relaxed replete with Neckbone Stew.
Big Daddy Wilson has created musical concoction the effortlessly with artistry and feel blends, blues, roots, country spiritual, soul and reggae; this is music that flows mighty fine on the ear. The spicing in the musical mix is just right, it is definitely a bowl of Neck Bone Stew served at the right musical temperature!
Michele D’Amour and the Love Dealers – Lost Nights at the Leopard Lounge
We have all lost nights in clubs that are dark, and in the day smoky with the music full of blues, soul and sultry temptations. Michele D’Amour and the Love Dealers on their third album Lost Nights at the Leopard Lounge have captured those memories of sadness, happiness calm and fever fuelled intensity across the dozen tracks. The Seattle-based singer/songwriter Michele D’Amour delivers the song with panache surrounded by musicians delivering solid blues that captures Chicago Blues and Mississippi Juke Joints, dirty dangerous and solid.
Opening with, No Good, a gentle introduction into the vocal range and tone and the tightness of the band around her with a hint of the tasty licks from guitarist Ryan Higgins; the reality is only good can come from music that is full of stylish delivery.
On the languid laid back sharp numbers, Trouble and All I Do Is Work we are caressed by the music as we dip our musical toes into the warmth of Live At The Leopard Lounge. The singing is sharp and tight reflecting the rhythm section combination of Patrick McDanel on bass and drummer Ronnie Bishop.
The title track, picks up the pace and has a clever bass line as Michele explores the mythical club Leopard Lounge they have created in an ode to colourful venues they have played in, and depicted by artist Tim Sutherland in the album art. This sassy track reflects life, grimy, exciting, humorous and often dirty. The themes are true blues fodder, the downtrodden, love gone wrong the lost and hurt, about real life and people Michele has met on the road as a musician. As we hit the halfway mark Michele sings Lost My Mojo, the horns and deep dark creative bass lines definitely have their mojo full on as it leads into a glorious lead break from Ryan, this is smokin’ good music.
The tone deepens and the tempo slows as the lyrics are considered against the slow pound of the drums the timing is superb and we know exactly what Michele means when she sings Blue As Blue Can Get. We want to leave the Leopard Lounge up beat and a Country Rock tinge to Last Man Standing is invigorating as the guitar sound swirls and builds around the melody. With a boogie vibe as the album closes we have had a night of musical experiences at the Leopard Lounge in the Company of Michele D’Amour and the Love Dealers.
Celebrating the bands fifth anniversary this album encompasses blues of a time and place. This is not stretching the genre it is delivering blues that collectors want to collect; straightforward music that sings to your soul.
The title is apt, the album has a sense of purpose, is never over-produced it has been left Rough Round the Edges. JFK Blue are a five piece united by a love of playing music and the blues is the rocket fuel that lights the spark. The band JFK Blue are new to me when the invitation to review Rough Round the Edges dropped in to my inbox. They comprise vocalist and guitarist Chris Elliot, Iago Banet on lead guitar, Keys from Dave Lennox adding another layer of vocals and the Rhythm section bassist Leslie Fleischman and on drums Sol Ezra plus percussion and vocals. The band may have Blues in the name but are never restrained to sit in any particular genre they want you to enjoy the self-penned numbers reflecting their many influences.
A debut album, exploring styles with a variety of approaches that rocks up that rootsy feel of the blues. ; stretching the definition and adding a spark of electric feel. The album in under five days, with a tight budget capturing the feel and attitude of the sixties using vintage gear in an analogue studio.
The eleven tracks are all a bit different as we open up to a heartfelt St. Joseph; certainly makes the listener want to hear more, the guitar is tasty with a rocked back beat and the drums give the percussive push. You may say you are Rough Round The Edges; this assures first time listener that we are in safe hands, musicians that can play with stripped back production and listenability. The sound is contemporary throughout the eleven tracks as they take us down a beat and we enter the Shadowlands. The album has a live, one take feel, the chorus is catchy a warm melodic beat; look out for Iago’s solo the catch pulling the track together so never hidden in the shadows of the album. So are they going to rock up the tempo on Can’t Tell the Truth? Now they take it down, to a laid back mooch full of tonal contrasts and sharp harp playing.
Half way through and contracting sounds engages the listener with Reggae infused Shed A Little Light, bring a kiss of summer, hot pavements and chilling out. Smart marching beat of drums opens up Nola (Gimme The Funk); full of pure driven funkiness. This is a band that likes to swing in the changes swim against a tide that says you should have a uniform signature style.
As we draw to the end of the album the penultimate track Don’t Cry For Me; I can assure you no one will be crying in pain listening to JFK Blue. This has a free-flowing jamming with control a band that is relaxed having fun but never losing its shape and sense of purpose. Closing with Having A Real Good Time, the band wants to make sure you have with eleven tracks that suit everyone’s taste with different styles and approaches.
For, me at times the vocals lose shape and could have had more depth of tone and range and despite listening to eleven JFK Blue originals they are still to me an unknown. I just couldn’t quite grasp what direction they wanted to go in. This is gentle rock that doesn’t disappoint but never quite lights a blue flashing flame. JFK Blue, debut Album Rough Round The Edges is smooth perhaps at times too contained trying too hard to please. Yes, mix it up but have a narrative not an experimentation with lots of different styles. Stamp your JFK Blue brand on the music so it will be instantly recognised. That said a good solid debut, and I certainly want to hear them play live and get to know JFK a little bit better.
Sonny Landreth New Album Recorded Live in Lafayette
Sonny Landreth, back with his first live album for twelve years. A double CD; part acoustic/ part electric Recorded Live in Lafeyette is a gem. This is most definitely a two-set celebration of bottle-neck guitar; Landreth style, interaction of his band of long-time cohorts is just what his phalanx of fans have been asking for. With sixteen carefully selected tunes reflecting his musical career with the added energy of being recorded live across three nights and co-produced with Tony Daigle.
Opening with Blues Attack, rearranged for this acoustic offering the title track from his debut album gets the mood going and your ear hooked into the sound blues coloured in with Louisiana creole. ’ “It gives you a chance to explore those songs in a different way,” Landreth says, describing the textures created by the intersection of Dave Ranson’s ukulele bass, Brian Brignac’s cajón, Steve Conn’s accordion and Sam Broussard’s acoustic guitar. “The familiarity is there,” he adds, “but I also wanted to turn those guys loose as much as possible.” From the first note to the last this is a band having fun enjoying the music and painting through the notes a warm atmosphere of foot-tapping, dancing music.
The album seamlessly moves on to Hello Home. The music has that all-encompassing feel of a safe harbor soothing the soul with the many extended instrumental breaks. Never power-driven lead breaks but beautifully structured interludes between the lyrics. Throughout the album the applause is genuine, the cheers real this is live music every audience at the venue or through the speakers will find solace in the crafted slide guitar with its percussive shaping weaving through cajón, accordion music that is infectious.
With a percussive jolt, sharp acoustic and Sonny’s vocals we enter the world of the Creole Angel. The beat is relentless, demanding attention as Steve Conn’s accordion joins the party. Now we have the Creole tempo, textures and tones urging you to smile, clap and dance to the music with an exuberant vibe. The album is led by the instrumentation with the vocals adding another tone as the tempo and changing the mood. The blues is cold and determined as acoustically Sonny explores Bound By The Blues, with a holler and a cry we cross seas, hear names of bluesmen united by the musical form.
The U.S.S Zydecoldsmobile a perennial live favourite is unplugged, full of driving force at Live at LaFayette. The guitar work has an energy that is Landreth’s trademark always exciting and entertaining as blues is shaken and stirred up with the warmth of Creole spice and rooted in quality.
The second set, the guitars are plugged in electric and duel as we hear the other side. The guitar has a purity, sharp-edged as True Blue is explored the sparks of the six electric strings sparking off the vocals. Ümbresso tempo is fast with a distortion that adds a dangerous element; always in control nothing is overdone as the sonic sounds pours from the speakers and you are immersed into the instrumental you are in the room with Landreth.
A click of the drumsticks, hill country blues tones are fresh as we are striding out with Walkin’ Blues. Closing out with high-stepping accordion, this is fun as Sonny sings about the One and Only Truth or mama’s philosophy, having fun with life , this closing track certainly has the crowd cheering. Who can resist dancing to the foot tapping infectious beat.
The perfect time for the project as Landreth found himself at one of life’s inevitable crossroads. The result is ninety-three minutes of music heaven, smooth, warm and spiced up with clever licks and breaks to keep the listening ear totally engaged.
King King Single Launches Countdown To Exile & Grace
Get That Friday Feeling, open your ears King King today have released the first single from their highly anticipated album Exile & Grace. There fourth studio album will be released by Manhaton Records on Friday 6th October. The growing legions of King King fans will be counting down the days as this will be probably highlight of 2017 on the blues-rock scene.
Listen and revel in the glorious sound, tone and textures on (She Don’t) Gimme No Lovin’
The new single was mixed by Chris Sheldon (Foo Fighters, Feeder and Therapy). The single is redolent with the power that belongs to King King as they had a harder rockier edge with the drums pulling out the beat crisp and clear as the bass of Lindsay adding the rhythmic stride. With the guitar purring and like a crouching tiger builds the energy as the six-strings pounce out of the speaker grabbing your attention. Three mighty tonal layers are pulled together as Bob Fridzema magic fingers caress the Hammond and weaves his sound through and around the melody. The foundation is rocking ready for the vocals of Alan Nimmo, the lyrics curl an dare coated in honey, This is the promise delivered in a single that Exile & Grace is going to be a mighty impressive album.
King King promises to deliver even more of a punch from King King, with killer songs performed with true passion by a fist tight line-up.
“Exile & Grace definitely has a rockier feel and sound to it,” says King King’s frontman Alan Nimmo. “We are following our influences from the Classic Rock genre, Bad Company, Whitesnake and Thunder. We really set out to challenge ourselves with this album. We’ve stepped up the quality of song writing and pushed ourselves physically in both performance and delivery!”
King King are pleased to announce their biggest UK tour to date. The band will play a series of high-profile concerts, including London’s Shepherd’s Bush Empire on Wednesday 18th October. Tickets are available from the 24 Hour Box Office:0844 478 0898 and from www.thegigcartel.com.
Recorded at Superfly Studios, this is King King’s first album of new material since 2015’s multi-award winning “Reaching For The Light” features the upcoming single “(She Don’t) Gimme No Lovin’”.
4th UK Blues Challenge Announced At The Cavern Liverpool
UKBlues Federation are delighted to announce Tickets for the 4th UKBlues Challenge, which will be held at the world-famous Cavern Club in Liverpool on Sunday 10th September 2017, are now on sale via the Cavern Club’s website – HEREThey are priced at £10.00 in advance, £12.00 on the door.
Members of the UK Blues Federation can enjoy a reduction of £2.50 per ticket (maximum 2 tickets per member). This discount will be applied when they next renew their membership after 10th September 2017. Join the UK Federation Today
The bands/artistes appearing are, in alphabetical order
Doors will open at 15.30 with the first band on stage at 16.00. It is anticipated that the event will finish by about 21.00 and will close with a set from the winners and, we hope, feature some top guests who will be at the event. Bluesdoodlesinvites you to share this news, help support UKBlues in what it is doing. Visit our website – UKBlues to read about membership benefits and to join
UKBlues Federation supporting the 4th Challenge
“Bringing the Blues back to The Cavern 60 years on….”
Wildfire, perfectly captures in a word the burning power of Elles Bailey’s vocals and stage presence as she sings blues that have captured in its blue flame, country, roots and soul. The voice is smoky with textures and tones that pulls out lyrics and coats them in Elles special brand of Bristol fanned Wildfire.
Often the word unique is used when talking about an artist especially on a debut album. In the case of Elles Bailey it is most definitely true. Her blues fuelled sound is lived-in, and is the fortuitous result of a childhood illness. Having recovered from both viral and bacterial pneumonia; her voice at the age of three had changed, leading to her ENT specialist prophetically observing, “If she ever wants to sing, she’ll be a natural blues vocalist!”
Wildfire started out as a demo that she had arranged to cut in Nashville whilst on a family road trip as Elles explained, “You know, ‘when in Rome’ and all that? But what was meant to be just one solitary track took on a life of its own. Before I knew it, boom, we had a whole album!”
Elles has surrounded herself with musicians chosen so that your ears mine through rich veins of blues tones and textures. Using musicians from both sides of the Atlantic, from USA guitarist Brent Mason and Chris Leuzinger, pianist Bobby Wood; and the rhythm combo of bassist Mike Brignardello on bass and Wes Little on drums. We always love some more glitz so joining the Wildfire party legendary Ivor Novello Award-winning songwriter Roger Cook came on board. Once back in the UK adding their depths of musical talents and blending the music into a continuous perfectly woven tapestry are Jonny Henderson on Hammond organ and Joe Wilkins on blistering guitar. Without the skills, oversight and direction from producer Brad Nowell this could have been a fire burning out of control instead we have music that is balanced and sumptuous.
Opening with a howl of guitar conjuring up wilderness, Wild West the scene is set with the title track as blues meets country coming back down the road. What really captures your musical ear is the voice; Elles has an understanding of the lyric taking it slowly, giving the words space and building the tension. The music and lyrics paint a visual picture in your minds-eye creating cinematic music. The winning combination of Bobby’s piano and Jonny’s Hammond soothes the soul as her vocals drop with smoothness of whipped rich cream sharpened with a jolt of citric. The song is wistful and you empathise with the pain she is feeling as the drums beat out the road she has to travel as the perennial question What If I is asked again and again through the track. Leaving you wondering about your past asking your own What If I question.
Half way through the album and the delta slide guitar blues has an outing with Let Me Hear You Scream, again the shaping of the vocals gets the story told and we just want to hear her vocals growl with intent when she sings the title. The tempo rises as if the wind is fanning the fire with Shackles of Love her soulful modulation and backing vocals curl around the instrumentation that she has under total control.
Again, the tones are full of interest country with added values as we check in to Barrel Of Your Gun, starting smooth the vocals harden and the mesmeric qualities of music that is rooted in the blues and flowers free using the qualities of lyrics vocals and musicians she has surrounded herself with. With a tribute to the blues man on Howlin’ Wolf we hear her howl and celebrate the blues in her own way that will become a trademark as her career further establishes itself. The music slows, her vocals sung softly as we have a true blues number with Girl Who Owned The Blues; Elles Bailey already owns her style of blues in her hands, Wildfire is going to win her more. Closing the album out with Time’s A Healer; leaving us with a quiet gentle number reflective and the voice shimmering like a reflection in a pool of silver water. Another picture painted and we want to listen to the album all over again.
The only slight dampening of the flames in the music is that the tempo across the track is fairly similar, perhaps rather than blending the styles as she has in the majority of tracks. Some celebration of soul country and blues so listeners can see the variation and the power of the blending. This minor irritant did nothing to stop me enjoying the dozen tracks. Elles Bailey, has created a debut album that is sassy blues, modern using the rich treasure chest of roots, soul and country to create an album that burns hot and is fresh whilst being hot. This is music that crosses genres because it is excellent. The future of blues in UK is hot and strong with the fiery breath of Elles Bailey singing out to entertain and keep the blues alive. Wildfire, Elles Bailey What a Stunning Voice! Elles Bailey Scorching Debut Album Wildfire is hot with husky vocals blending roots sounds from Blues, country & soul set to be Voice of The Blues.
Elles Bailey – Wildfire – Release date 1st September
BD: Thank you for taking time to talk to Bluesdoodles again we are ready and waiting for Black Magic your new highly anticipated album to arrive on the desk from Listenable Records. In the meantime you have released the first single as a tempter “Last Chance”. The number feels heavier, what inspired you to write the number? JJN: It is definitely heavier, the whole record is full of different shades, tones and styles. People will not be expecting it to be so heavy, decided to release Last Chance to come out with a bang from the new album to grab the ear. It is a sample of styles the album will be exciting lots of blues influences and some really great moments with even some funky stuff.
Listen to Last Chance Here
BD: You have talked a lot about the inspiration the Blues provides you. What do you believe spicing it up with Rock adds to the format; or what is your definition of The Blues in 21st Century?
JJN: Playing now, it is music that when I play the masses of 2017 can relate to understand and enjoy the music. It is a fine line with the blues, honouring the blues legacy with what music people want to listen to. I try to bridge the gap with influences from the classics with modern influences. I have absorbed the music of people I have supported from Walter Trout; Zakk Wylde; UFO; Saxon they do influence with the reaction from different crowds. Underlying is always the Blues. Sprinkling the blues through the music so my generation can re-discover the blues. With the music alive and exciting fresh and modern, that way the blues will survive and grow with new guys and girls playing and appreciating the music.
BD: You are back in the UK with a mix of shows, headlining supporting and Festivals. What excites you about playing in the UK; as your recognition grows? JJN: Every time I return it gets better, the audiences in the UK really get the music I play. The audiences have a respect, love and knowledge of music; you can talk to a guy at the bar and they will have a depth of knowledge and understanding. I love playing here as I have been heavily influenced by the British Blues explosion.
Starting out with two headline shows tomorrow Wednesday 21st June at the Grimsby Yardbirds and couple days later in Milton Keynes Craufurd Arms Saturday 24th June. Then the following week starting on the 25th opening for Blue Oyster cult, which I am very excited about. Then it is back to USA to do work on finishing my forthcoming album Black Magic. Then it is back to UK for opening for UFO which will be a blast and then two great festivals Ramblin’ Man & Steelhouse. The live shows will be such a great opportunity to play to new audiences.
Full Details of the tour can be found on Bluesdoodles post HERE
BD: Do you make any changes to your set list depending on who you are opening for? Or is it a shorter version of your standard headline selection? JJN: I change the set list to reflect who I am opening for to feed the crowd. With Walter I could include in the set cold slow blues whereas Zakk Wylde something heavier, like Mountain or Cream. Love to include music that adds an edge from Muddy Waters through to Grand Funk Railway cater for the artist and the audience. I just do it all when it is a headline show. We never really have a set list on the floor. We go with the flow, talk it through play two songs and build from there using the crowd’s reactions. The music flows and the live event gives it a feel that suits the occasion.
BD: You are coming to Wales to drive up the Mountain to Steelhouse, it will be a very different venue to when you opened for Walter Trout at The Tramshed last year. Does Wales dig your form of Blues Rock? JJN: It is great playing in Wales, love the scene the audiences love the same stuff as I do. First time I played was at a rugby club near where Steelhouse is held; the people were awesome they love to rock out. Great to play in such a fabulous new venue in Cardiff and looking forward to returning to play at a festival. Sounds a real blast and want to be part of the fun.
BD: You are the ultimate power trio with the guitar flashing its licks & riffs. Have you played with the rhythm boys for a long time as there is an innate understanding of the direction you are taking each track. JNN: Met the guys in Los Angeles when I first moved from Wisconsin. Erik was the first guy I met in LA he had just moved from Sweden; I saw the bass and asked if I get any gigs would you like to play with me. I then asked him if he would like to jam and we needed a drummer, he knew Dennis who had moved from Sweden a couple of weeks previously. We jammed and then got gigs that was five-and-a-half, nearly six years ago. We grew organically jamming to start with now we have played over five-hundred gigs we know what we are doing. There is a special kind of vibe we know how someone is going to react. With only three guys in the band can’t hide behind anything; it is fun to push the music as far as you can. Every time we play a song live it is different; sometimes solos are longer other times more bass we bring in changes.
BD: What other plans and excitements have you got planned for 2017 & beyond into 2018? JJN: Touring with Saxon & UFO in the Fall across USA & Canada for 5-6 weeks. Obviously completing and releasing the album and hope to be over to the UK again end 2017/beginning 2018 to showcase the new record.
BD: We asked you your fantasy band when we talked last year so what are you listening to at the moment; whether on the tour bus or relaxing? JNN: Mmm; I am making an effort to listen to new music loving the latest from Blackberry Smoke; and following on from touring with Walter Trout his stuff and off course all the usual suspects. I am loving listening to live bootlegs on You Tube. If you type into search any artist Bootleg lots of exciting music comes up including Jimi Hendrix; Cream; Eric Clapton and more. Digging back to find unknowns so much stuff is covered in dust.
BD: Once again thanks for your time and looking forward to see you at Steelhouse and having the opportunity to review the new album Black Magic
Check out Bluesdoodles Reviews –
Jared James Nichols Live – @ The Tramshed supporting Walter Trout HERE
Jared James Nichols Live – @ Robin 2 supporting Glen Hughes HERE
EP review – Highwayman HERE
Album Review Old Glory and Wild Revival HERE