Support from Mollie Marriott and her Band

Tickets are selling fast three venues SOLD OUT, Leek, Sheffield & London  Manchester, Newcastle, Bristol catch up and make these shows Sold out. Dan is one of the hottest guitar players on the planet. Get the remaining tickets they are hotter than any hot cross bun!

TICKETS –  The Gig Cartel or DanPatlansky 

Manchester, Deaf Institute             Thursday 15 March           

Newcastle, The Cluny                      Friday 16 March

Leek, Foxlowe Arts Centre              Saturday 17 March SOLD OUT

Bristol, The Tunnel                          Sunday 18 March 

Sheffield, Greystones                     Tuesday 20 March SOLD OUT

London, Borderline                        Wednesday 21 March SOLD OUT     

South African singer-songwriter and guitarist, Dan Patlansky, is set to the release his new studio album Perfection Kills in the UK on Friday 2nd February 2018. The album is the follow-up to 2016’s critically acclaimed Introvertigo which was voted #1 BluesRock Album 2016 by Blues Rock Review.




 New Album Perfection Kills


Dan Patlansky Guitar and Vocals asks if Perfection Kills

Bluesdoodles loved the album Introvertivgo . We listened and reviewed Perfection Kills a perfect 10 doodle paw album in our opinion. We said this and more “Dan may say Perfection Kills – one thing for certain very track is a Killer and who cares about perfection? We love the tone, texture, feel and organic energy captured by voice and guitar that define Dan Patlansky on every track he plays. Blues that definitely rocks perfection of its pedestal.” Read the Rest of the Review…

Announcing Year of the Tiger Sings Myles Kennedy Solo

Announcing Year of the Tiger Sings Myles Kennedy Solo

The album had a long gestation period, seven years. The first solo album Myles Kennedy wrote he threw away, leading to a period of intense writing as Myles said he found himself “writing like a madman.” With over twenty songs written over a short period, he began to see a clear direction to take.  Suddenly, “It became incredibly obvious what the source of inspiration needed to be lyrically driven,” he says. “I realized it was time to jump head-first into something I’ve been putting off for my whole life as a writer.” The result was a dozen tracks that shaped and created the solo album, Year of The Tiger, intensely personal. An album almost entirely focused on the loss of Kennedy’s father when the singer was just four years old. “My family was very involved in the Christian Science church,” he says. “So when he became ill, he chose not to seek medical attention and passed away a few months later. By all accounts, my father was a good, honest man, but I still struggle with the choices he made which ultimately led to his death.

Myles Kennedy, the voice out front with Alter Bridge, Slash’s band, and Myles Kennedy and the Conspirators; here we focus on his other side that of singer/songwriter.  Kennedy himself plays the banjo, lap steel, bass, and mandolin in addition to guitar on Year of the Tiger joined by drummer Zia Uddin and Tim Tournier on bass, along with longtime Alter Bridge producer Michael “Elvis” Baskette.

Opening Year of The Tiger, with the title track, sets down the focus and direction the album is taking as we step onboard a journey with Myles Kennedy. “I remember stumbling onto the melody and title of the song years ago. It stuck with me but I couldn’t seem to complete the concept until it dawned on me that 1974 was the Year Of The Tiger according to the Chinese Zodiac.” he says. “Once I realized that was the same year we lost my father, I knew where I needed to take the record lyrically. The song is really the preface for the entire story from my mother’s perspective. It’s a battle cry of resolution, to persevere under the circumstances we were enduring after dad passed away.”

The opening track is no maudlin funeral growl. It is affirmative full of love and the pain we feel when losing someone close. It is looking beyond the pain and moving on. The vocals delivered with personal emotion and melodic beats that drive the song on with a burning energy. The result of his father’s death led to the family being uprooted from Boston and starting again out West. As we enter The Great Unknown, the lyrics deepen and the tempo changes the vocal heights reflecting the internal pain and grieving. The song gathers in the epic power of rock but never descends into a power ballad. It is the work of a singer/songwriter using the presence of rock with a cascading fury and philosophical look at coming to terms with losing some on you love. This powerful singer/songwriter musical journey calms and fades on a lighter note. Where will he take us next?

The titles are thought-provoking reflecting thoughts and confusion after a monumental loss. As Blind Faith is often what you need to move on. Using the sonic shaping of the blues, a resonator and the time honoured open letter to his father unfolds on a stripped back number. In fact, the simplicity of the music makes the lyrics stronger making Myles vocals pierce through the speaker.

Every track on the album is shaped by the lyrics, pain, and hope plus how the words are shaped and molded by the immense tonal range and textures of Kennedy’s vocals. On Turning Stones, the sound is low key, less urgent taking time to consider on a country tonal prayer looking for redemption and healing of wounds as we are halfway through the emotional journey we are exploring on Year of The Tiger.

Mother, we are now looking at grief from a different perspective. The music is urgent fast and Myles tries to capture the dual pulls on his Mother her own grieving and keeping it together for Myles and his brother.  With the curling country fuelled guitar opening. We here that missing someone never stops on Nothing But A Name. We are once again eavesdropping on a personal conversation between the singer and his father.

Then gentler at times with a feel of a rocked up lullaby is Love Can Only Heal. The guitar is sharper on this track and there is an urgency as the song explores the power of love and being in another place, different time, reflective and healing. Capturing the cathartic power that Kennedy expresses throughout this exploration of personal grief.

Closing out a deeply personal but never maudlin album with One Fine Day. We now are on a road moving on and letting go the path of the album is clinging to, a new crossroads has been reached.  The whole album has a deep intensity, an intimacy that has been achieved by recording straight to tape. Like life and death, there are imperfections giving the album humanity. These have been embraced in an edgy album where Myles Kennedy bares his soul and inner feelings directly to his audience.

Announcing Year of the Tiger Sings Myles Kennedy Solo We (the listener) are taken on a deeply personal journey by singer/songwriter Miles Kenedy. full of emotions, sadness and life never maudlin sung in suiting the lower register the vocals are delivered in.

TENpawprint half inchdoodle paws out of TEN …

 Myles Kennedy – Year of The Tiger – Napalm Records


  1. Year of the Tiger
  2. The Great Beyond
  3. Blind Faith
  4. Devil On The Wall
  5. Ghost Of Shangri La
  6. Turning Stones
  7. Haunted By Design
  8. Mother
  9. Nothing But A Name
  10. Love Can Only Heal
  11. Songbird
  12. One Fine Day

Announcing Year of the Tiger Sings Myles Kennedy Solo



Ian Siegal New Album Is Definitely All The Rage

Ian Siegal New Album Is Definitely All The Rage

New studio album from Ian Siegal, drops on the doormat. Thank you, Mr Postman bringing the hope of joy with a shiver of anticipation of something solid, positive and reassuring in a world of uncertainty. The album cover monotones of dark greenish hue and stark font Ian Siegal All The Rage has arrived. Now Listen!

The album All The Rage has been fuelled and inspired by the world that Siegal looked out on last year. He saw poison in the veins of the planet, the election of President Trump, the rise of right-wing factions across Europe. His starting use of words is evidenced in the title – All The Rage – normally understood as popularity, being a craze, here we have a shaking of the Siegal’s fist on our behalf in anger, frustration and bemusement in the distorted rise of populist politics and world solutions that do not rest easy on our consciences.

Going straight to the track listing, rewarded with the immense intrigue of what these ten new original songs will be like. The songs all have Siegal’s hand in the mix with six of the tracks co-written this will be an interesting first listen.  Three of the numbers co-written by album producer Jimbo Mathus who Ian has toured with as an alluring double act. The album is definitely full of promise before a note is heard, but here is the question will it deliver?

So turn up the speakers ready to sit back and absorb the songs. The album was explored a number of times before the review, mostly played for the pure unadulterated pleasure of hearing Siegal’s vocals, guitar and the interplay with his band.

Drumming followed by the familiar guitar sound the perfect intro to the latest album adding to Ian Siegal’s amazing and powerful discography that ensures he remains the award-winning troubadour delivering the strong songs we want to hear.  As the opening track, Eagle-Vulture fills out with slide-guitar with an urgency and vocals, Eagle-Vulture is a number demanding your attention like the military walking through your headspace.

As you would expect from the mercurial troubadour that refuses to be defined by genre every track brings a new twist in lyrics and tonal texture. The beat compliments the lyrics and the vocals change to suit sometimes spat out, other times delivered with a cajoling tone the words as required with melodic spiciness.

The trademark recognisable riffing squealing guitar opens The Sh*t Hit, for a brief moment you expect Mortal Coil but no this is dark and new. This is sharp, blues that is gritty reflecting the moment that we are living in.

A highlight of an album that sparkles with glorious riffs, lick and lyrics is Ain’t You Great. This is Siegal dark penning dark lyrics and combining with a dancing Latino beat. This contradiction of styles works it makes you listen to the lyrics that have a political prophecy.  A number where the album title is hidden and the charismatic wonders of listening to Dusty Ciggar’s guitar playing shines through like a beacon of hope.

The trio of numbers written with Jimbo Mathus has a special tonal quality this is a pairing that captures the blues but never confined by convention. My Flame is a gentler finger-picking number with an intimate personal delivery. With the blues of If I Live capturing your ears and Sweet Souvenir following conversation with a bartender as we try to remember. This is a trio of numbers once heard never easily forgotten.

The two tracks written by a trio of talent have lyrical storytelling and at the heart is the infectious Jacob’s Ladder with its mix of guitar and even some whistling. Jacob’s Ladder is the stand out track until you hear One-eye King a classic from birth. A ballad with oomph and again the darkness that Siegal has enfolded the album in so you are never far from death and destruction of our own making

The final track, Sailor Town, as Ian explains, “Herrera and I were discussing the areas we grew up in…” Siegal described his as “kinda rough y’know a ‘sailor town”. Herrera declared, “Boom, there ya go – that’s the title of our first song together!” closing out the album with a number full of Siegal swagger, verve and style that is present throughout All The Rage. From meeting the devils blues, ballads and cowboy songs all woven together by the power of vocal delivery of the clever storytelling lyrics.

TENpawprint half inchdoodle paws out of TEN …

Ian Siegal – All The Rage – Nugene Records

Released  16th March 2018 Available for pre-order

All The Rage – dedicated to the memories of Freddy James and Jim Dickenson


  1. Eagle-Vulture (Siegal)
  2. Jacob’s Ladder (Azier/Den Haring/Siegal)
  3. The Sh*t Hit (Siegal)
  4. Won’t Be Your Shotgun Rider (Siegal)
  5. Ain’t You Great? (Siegal)
  6. My Flame (MathusSiegal)
  7. One-eyed King (Azier/Den Haring/Siegal)
  8. If I Live (MathusSiegal)
  9. Sweet Souvenir (MathusSiegal)
  10. Sailor Town (Herrera/Siegal)


Band Members
Ian Siegal: (Vocals, electric, acoustic, slide and resonator guitars; percussion)
Dusty Ciggaar: (Electric, acoustic and pedal steel guitars, backing vocals)
Danny Van’t Hoff: (Bass, backing vocals)
Rafael Schwiddessen: (Drums, percussion, backing vocals)
Merel Moelker: (Backing vocals)
Jimbo Mathus: (Electric & acoustic guitars, mandolin, piano, organ, percussion, drums (track 7) backing vocals)

Recorded at Island Studios, Amsterdam
Produced by Jimbo Mathus

All The Rage, Album Launch tour April 2018 – dates, venues and links to ticks for a gig you do not want to miss HERE


Ian Siegal All The Rage New Album plus Tour

MAGNUM Rock Lost on the Road To Eternity

MAGNUM Rock Lost on the Road To Eternity

MAGNUM Lost On The Road To Eternity

MAGNUM’s twentieth studio album Lost On The Road To Eternity hits the sweet spot. The album is a fascinating mix of whimsical, fantasy and the power driving beats of rock. The road Magnum are taking us down within the album is full of twists and turns and hidden pathways for you to explore.
There have been changes afoot at camp Magnum, with Rick Benton behind the keys replacing Mark Stanway who suddenly departed from the band mid tour., and with Lee Morris behind the drum kit replacing Harry James whose duties with Thunder and Snakecharmer meant that something had to give-way. The heart of the band are vocalist Bob Catley, guitarist Tony Clarkin and bassist Al Barrow. Band personal sorted, roles defined and Clarkin has completed the songwriting now to step on the road to eternity with the new line-up.
Opening with Peaches and Cream instantly wrapped up in the sweetest Magnum sound. This is an anthem that reverberates through the speaker and beyond. This is life with no happy heading it is no fairy tale “…say life is like Peaches and Cream I say it is only a dream…” – Magnum lyrics wrapped around Bob’s silver vocals and encased in the glorious guitar from Tony. Songwriter, riffing master and vocalist in perfect harmony. Rick Benton’s keys bring a new depth to the tone when they are added to the mix on an opener that gets your attention.
The pace stays with Show Me Your Hands, this is where we hear the new style from Benton on keys in a solo. The shaping of the chords from Benton works well with Clarkin’s melodic vocals. Yes, new keyboards work well linking in and using the bass lines from Al Barrow.
The album is value for sound with plenty of Magnum music to get your ears into. Longer tracks including Welcome To the Cosmic Cabaret gives the time and space for the whole band to explore the context of Magnum rock on the road to eternity. Lee Morris’ power drumming holds the cabaret together grounding the track with a driving shape and purpose. Catley’s vocals unfurl the storyline soaring above the drum and bass lines with a heat and fire in his belly. The interlude with cymbals and keys is a tinkling experience between the verses. This is a prog-rock journey as a story unfolds and fades away as the river flows through the landscapes of our musical imagination. We are at a show Magnum entertains through our speakers up loud at home.
The title track in the middle opens with melodic keys played with an expectation and poignancy. There is an edge to the number, it has a different feel. The album has the addition of Tobias Sammet on vocals giving a different tonal quality to Bob Catley. The two voices work well together giving the theatrical feel that is deserving of a Magnum album title, as We Are Lost on the Road to Eternity.
Every track has its place on the album’s narrative with ballads, such as Storm Baby and slower tracks like Forbidden Masquerade. Starting slower and building to hit you between the ears. Bob Catley’s voice is fantastic full of tonal texture. The number is spiritual and full of mystery it builds the album so that the energy is being maintained.
The final two tracks are those that often linger when the stereo falls silent. Glory To Ashes the guitar picks up an underlying bluesy tone, whilst still one-hundred percent Prog-rock. We are back exploring war and social justice. It would not be a Magnum album if these topics were not considered. The drum is a war drum of despair crafted and sung as a clarion call of rock. Closing the album with King of The World, Magnum are certainly reaching another pinnacle. The new members have injected a sense of purpose and energy. Combining with the power and intricacies of Tony Clarkin’s songwriting imagination and Bob Catley’s voice that just keeps hitting every note effortlessly. He shapes the lyrics so they fit into the melody laid down so that Magnum Prog-rock is a harmonious joy. As we get Lost on the Road to Eternity. Eternity is not long enough when you are entertained by the music of this power and quality as we find out about King of the World.

MAGNUM – Lost On The Road To Eternity – STEAMHAMMER / SPV

TENpawprint half inchdoodle paws out of TEN …


Available physical formats:
Format: CD + CD
Packaging: DigiPak incl. bonus live CD

Format: 2 LP + CD (in paper sleeve)
Packaging: Double Gatefold, printed inner sleeves, purple 180gr. vinyl


2 CD Digi
CD 1
1. Peaches and Cream 4:54
2. Show Me Your Hands 5:45
3. Storm Baby 6:13
4. Welcome to the Cosmic Cabaret 8:08
5. Lost on the Road to Eternity 5:54
6. Without Love 5:55
7. Tell Me What You’ve Got to Say 6:27
8. Ya Wanna Be Someone 5:56
9. Forbidden Masquerade 5:02
10.Glory to Ashes 5:35
11. King of the World 7:04

CD 2 (bonus live CD)
1. Sacred Blood – Divine Lies 6:48
2. Crazy Old Mothers 5:35
3. Your Dreams Won’t Die 5:56
4. Twelve Men Wise And Just 6:21

2 LP Gatefold Version
Side 1
1. Peaches and Cream 4:54
2. Show Me Your Hands 5:45
3. Storm Baby 6:13

Side 2
1. Welcome to the Cosmic Cabaret 8:08
2. Lost on the Road to Eternity 5:54

Side 3
1. Without Love 5:55
2. Tell Me What You’ve Got to Say 6:27
3. Ya Wanna Be Someone 5:56

Side 4
1. Forbidden Masquerade 5:02
2.Glory to Ashes 5:35
3. King of the World 7:04

Digital Version
1. Peaches and Cream 4:54
2. Show Me Your Hands 5:45
3. Storm Baby 6:13
4. Welcome to the Cosmic Cabaret 8:08
5. Lost on the Road to Eternity 5:54
6. Without Love 5:55
7. Tell Me What You’ve Got to Say 6:27
8. Ya Wanna Be Someone 5:56
9. Forbidden Masquerade 5:02
10.Glory to Ashes 5:35
11. King of the World 7:04


1st March – Belfast – Limelight
2nd March Birmingham – Town Hall
3rd March Preston – Guildhall
4th March Nottingham – Rock City
7th March Leamington – Assembly
8th March Cambridge – Junction
9th March London – Islington Assembly Hall
10th March Southampton – Engine Room
12th March Brighton – Old Market

Bluesdoodles review of MAGNUM show Tramshed, Cardiff 21st February 2018

MAGNUM Rock Lost on the Road To Eternity

Bootsy Collins Capturing World Wide Funk

Bootsy Collins Capturing World Wide Funk

Bootsy Collins Capturing World Wide Funk

One of funk music’s great pioneers, greatest bass players, rock and roll hall of famer and delightful eccentric Bootsy Collins is back with new release ‘World Wide Funk’ on Mascot Label Group. Following a 7 year hiatus, and at 66 years young the funk is stronger than ever on these 15 stupendous tracks of funkology.

” I wanted to make a musical monster that was born between a pee hole and a a..hole” says Bootsy, and the former James Brown bassist manages to steal the soul godfather’s moves, grooves and funk truths. This album LAYS IT DOWN from the first cut ‘World Wide Funk’ to the last ‘Illusions’. Bombastic, pristine production, each track is full of flavours ear teasers and flow, all the more realised with subsequent listens. You will play this record over and over.

Stellar special guest including amongst others Doug E Fresh and guitarist Buckethead, deliver P Funk influenced head bobbing, groovy, pimped out FUNK to a 2018 audience. Quirky, out there, sometimes risqué, sometimes political, always musical, always funky! Propelled by the unmistakable king of basslines, Bootsy brings aura, humour, psychedelic glow from star shine. ‘World Wide Funk’ envelopes you with the groove, caresses every fibre and music receptor of soul and spirit.

Bass legends Stanley Clark and Victor Wooten trade licks on ‘ Bass-Rigged-System’ and Bootsy makes room for rap stars such as MC Eiht, Musiq Soulchild and rising singing star Tyshawn Colquitt, who shines on ‘Snowbunny’. It’s easy to see the huge future of this Apollo Theatre ‘Amateur Night’ winner.

There is so much going on it’s hard to take it all in, in a good way. You just know you have to listen again and again. Bootsy’s soft and sultry vocals drift up, down, through and around reinforcing the funk with commentary, wit, spaced out wordplay and enticing ‘ come-ons’ to the soloists to ‘Bring It!’.

There is no filler, are no skip tracks and all tracks stand out and up on their own merit. Albums aren’t made like this anymore too often. ‘ World Wide Funk’ is classic P-Funk and modern groove funk that’s as relevant today as it was back in the platform shoe Funkadelic heyday. Bootsy is the Jimi Hendrix of the bass and the guru of the groove. The genuine ‘Brother Nature’, a superstar, a funkmeister.

‘World Wide Funk’ is essential listening, a slam dunk P-Funk gem for all fans of the beautifully weird feelgood eccentric chaos. The link, the glue, the route from pioneer to the innovator. A major talent, a major record.

Every citizen of funkland needs ‘World Wide Funk’, we are blessed to walk in Bootsy Collins purple, sparkly, ‘on the one’ world.

Funk yeah!

Pendragon for Bluesdoodles gives ‘World Wide Funk’ a ‘we are not worthy’

TENpawprint half inchdoodle paws out of TEN …


Track Listing:

  1. World Wide Funk
  2. Bass-Rigged System
  3. Pusherman
  4. Thera-P
  5. Hot Saucer
  6. Heaven Yes
  7. Ladies Nite
  8. Candy Coated Lover
  9. Snowbunny
  10. Hi-Heels
  11. Salute To Bernie
  12. Boomerang
  13. Worth My While
  14. Comeback
  15. Illusions

Bootsy Collins Capturing World Wide Funk

Starting Gun fired for The Bad Flowers Album Launch


Three bands, one album launch all in The Asylum. These Wicked Rivers, Those Damn Crows and top of the bill The Bad Flowers. The race is on to hear the music before the Starting Gun is fired and The Asylum has been ripped apart with the rock and roll majesty that is The Bad Flowers.

The running order tonight is These, Those, THE… Starting off with rock that flowed as These Wicked Rivers took to the stage. The four-piece from Derby hit the stage with a hefty, groove that set the scene. With drummer Dan Southall the star reigning from the back with a tight performance. The impressive set with John Hartwell on vocals adding a gruff intensity to every vocal lyric. Jon Hallam’s bass work captured a deep reserve whichever bass of choice. With frets, and without he ensured the bass line zinged with power; leaving the guitar work from Arran Day to pull the four-piece together in a melodic sound pulling on modern influences and capturing the inner steel of rock-blues.

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Short change over and the tempo changed as Those Damn Crows stepped up to be heard as the sold-out venue was becoming packed. The band from Bridgend where determined that we would remember the set and that they were here, like These Wicked Rivers, to entertain and party in celebration of The Bad Flowers debut album.

This was not the time for chatter and introductions. It was about the music and the heavy rocking sound left you wanting more despite the fact that we were all waiting for the main act of the night to perform. The five-piece used every inch of the stage including a box for Shane to stand on singing out into the audience full of vim and vigour. Crows were definitely the perfect warm-up act for The Bad Flowers. This is a band with attitude as they opened their account with Don’t Give A Damn. The anthemic track Rock n’ Roll Ain’t Dead had the venue partying on a Saturday night. What an impressive set young bands playing rock n’ roll with gritty determination. This is a band on the dark side of having fun with music as the twin guitars create a wall of sound.

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Having written a rave review, broke my own review rules and gave debut album top marks, I was hoping The Bad Flowers would not let me down when playing live at the sold-out album launch gig. Unsurprisingly, the set was dominated by tracks from Starting Gun. We wanted to hear the tracks live and dirty. The venue was hot and packed, an old-fashioned gigging venue where you were up close and personal with the bands. The amount of smoke pouring off the stage at times made the vocals feel as they were coming from a disembodied Tom Leighton and the band members shrouded in coloured fog. This did nothing to distort the good time rock that is the trademark of a trio that plays as if they are a larger band. Tom Leighton with his vocal dexterity that shapes every song is joined by a powerhouse of a rhythm section. Dale Tonks on bass and Karl Selickis on drums creating an incendiary rock that fills the venue with power and glory.

The crowd were responsive. They loved every act so far and now the atmosphere was superb for the trio from Cannock. As they hit the chords of Hurricane. They were building up storm-clouds of rock that cascaded across the venue. Tom is everything a band needs charismatic, with his distinctive sound that sends the lyrics across the venue like a clarion call.

The Flowers have created a bouquet of rock that is a listening experience that delights as we were royally entertained by a young band that has all the credentials to go to the top of the rock tree. The band took us back in time with Run Run, Run from their first E.P. and a thank you to the many fans who have been on this musical journey together. The rock shimmered with blues riffs that ground the band in the past, yet the sound is one-hundred percent of now!   They nailed every track leaving nothing to disappoint, a great performance that kicked the numbers into a living breathing rocking shape.  Highlights were Thunder Child the first single of the album, City Lights a song we all want to sing along to and Lions Blood. A triumphant triumvirate of numbers.  The Bad Flowers play indigo rock that shimmers as the vocals curl around the riffs and chord changes. Tom has something to sing about and he sings loud and clear. Your attention never falters when the trio is on stage.

Now they had planned an encore and the crowds wanted more. BUT the speakers were silent. The band is confused, the audience perplexed. Still, time before curfew and the crowds had been noisy but well behaved. So why were we getting the silent treatment? The sound man had switched of the desk and left the building. Tom thought about it. Jumped off the stage. Got sound back live and we had a cracking double encore. Now were are back in the land of Rock n roll and a celebratory album launch. Living The Dream, tonight the Flowers definitely were and a cracking cover of War Pigs. The sound went up a few decibels as we sang and partied with the band of the moment The Bad Flowers.

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Who Needs A Soul
Big Country
Lions Blood
Let’s Misbehave
Run Run Run
Be Your Man
Rich Man
I Don’t Believe It
Thunder Child
City Lights


Living The Dream
War Pigs (Black Sabbath cover)



The Bad Flowers are out on the road opening for Stone Broken & Jared James Nichols 




Starting Gun fired for The Bad Flowers Album Launch

Cameo The Bad Flowers Band Creating A Hurricane

Cameo The Bad Flowers Band Creating A Hurricane

Cameo The Bad Flowers Band Creating A Hurricane

Cameo The Bad Flowers Band Creating A Hurricane

The Bad Flowers have released their new single “Hurricane” taken from their debut album “Starting Gun” (released Friday, February 16)

Over at Bluesdoodles, we have rules but with a band this good stirring up the rock in our inner soul. As Bad Flowers Firing A Bouquet with Starting Gun they were blown out of the window – no wonder the latest single is Hurricane.

Read why we broke our own rules:-

Bad Flowers Firing a Bouquet With Starting Gun


The 3-piece band hail from Cannock, West Midlands. Have a listen this is rocking good music that blows away the cobwebs. The Flowers will play their album release show at Birmingham’s Asylum 2 on Saturday 17th February, – only a few tickets remaining.

Following the September release of their recent single Thunder Child, The Bad Flowers were named as one of Planet Rock Radio’s “Ones To Watch”.  Thunder Child, the first single taken from the Starting Gun, gained heavy airplay and was described by the station as “pure, dynamic, riff-heavy rock ‘n’ roll delivered with passion and prowess.”

HURRICANE – Single review

Bluesdoodles – says this about the Single – Track eight on the album –  musically heading for home. We are now in a for heavy weather with Hurricane. The opening bars of guitar in a hurry and then the vocals of Tome burst into the eye of the storm.  This is a love song that is fast loud and full of rocked up venom. Dangerous as a storm trying to get away from her love. This is a young band laying down the chords with the intent they want to be heard, they will be heard when they can invoke a Hurricane of musical delight.

With the album launched The Bad Flowers Head out on TOUR with Jared James Nichols and headliners Stone Broken. Venues, Dates and links to buy the tickets HERE

So learn the lyrics to sing along when the energy is unleashed at a venue near you!


I’m running, I’m running as fast as I can
I’ve gotta get away from you.
I’m screaming, I’m shouting at the top of my lungs I don’t know what else to do.

And try as I may, try as I may
I just can’t get, get away from your love.
From your love

Sweet little hurricane with your howling wind and rain
I can’t get, get away from my sweet little hurricane.

You took all the air from my lungs and now I can’t catch my breath
You turned my blood into stone and now my heart sinks in my chest.

And try as I may, try as I may
I just can’t get, get away from your love.
From your love

Sweet little hurricane with your howling wind and rain
I can’t get, get away from my sweet little hurricane.

I can’t get away from your howlin’
Your howlin’ wind and rain

I can’t get away.

The Bad Flowers Debut Album Starting Gun Announced

In Conversation with Tom Leighton

In Conversation As the Starting Gun Fires Up For Bad Flowers

Bluesdoodles knows the future is shining brightly for The  Bad Flowers they are blowing in on a Rock powered Hurricane.

2018 UK Tour Dates


Dan Patlansky Guitar and Vocals asks if Perfection Kills


Raw, authentic hot guitar like molten fire pouring around the mould created by lyrics that captivate. No-one needs to seek perfection under the aural hug of Dan Patlansky’s latest album Perfection Kills. Following on from a pair of critically acclaimed albums Dear Silence Thieves & Introvertigo; Dan needs no introduction. We have come to expect a guitar sound that stings and vocals that are a beguiling mix of melodic rock and deep down dirty as the vocals are spat out or become a melodic ballad. Then there is the third element, those deep dark slow blues that melt the Strat’s six-strings. If Perfection Kills as Dan suggests I say throw away the quest sit back and let the latest album wash away the day’s demands with the tracks that will delight from the first to the last note.

The opening phrasing of Johnny is gently melodic building with a crescendo that announces the mighty guitar of Dan Patlansky in the room. Followed by our first hit of vocals spat out by Dan’s distinctive vocalization, gruff, clear and melodic always in total control. Dan controls the number by stunning licks and vocals that just demand your attention. The first thing you notice is the warmth of tone it has a texture and tone that is vibrant, organic and a living being that Dan has shaped through his production of the album. Halfway through Johnny, the guitar is sharp stinging with Satriani inspired imploring as the six strings are made to sing with a melodic purity. Johnny’s challenging upbringing comes to the fore as the guitar tone and lyrical intensity ebbs and flows. Johnny has controlled volatility, summing up Dan’s amazing approach to Blues-Rock.

Like the last two albums, there is no title track, but a loose thematic flowing through the structure of the album. The theme being explored is our perpetual goal of finding perfection, in relationships, the work we do, and how we project ourselves through social media. As Dan says, Perfection Kills. The relentless pursuit of perfection always just around the next corner is slowly destroying the artistry within us all as humans. Captured in Never Long Enough; how time is catching up with us and the next departure is always too soon.

Slowing the tempo down with slow melodic blues. Mayday with the vocals softer, yearning drenched in a feeling of regret.  We are on a whirligig of daily demands as the refrain of the title over and over. Building the tension, the rush, and then the guitar cools the frenzy down. Focusing on the important things in life love, anger and frustration spills over into the guitar on Too Far Gone. A despairing wildness in the delivery of the vocals.  The question being asked can we turn the clock back and be more caring about the environment and can mankind be kinder, fairer and less stupid. The lead breaks have glimmers of hope with a cascade of notes combine with a harder edge questioning if we have any hope of taking this positive view.  Once again guitar and vocals add tonal layering to the lyrics adding more this is music to be heard, enjoyed and listened to. Not analysis for perfection but gaining a clear understanding of the question the album asks from the album cover to the last notes of Dog Day.

On Introvertigo, there was Queen Puree to his daughter. Now we have a song for My Dear Boy – his son and allows him to imagine with freedom and a sense of positivity as he imagines the life of his dear boy. The lyrics sit on top of stinging guitar coloured electric blue as the strat delivers the notes that make this outpouring of love and hopefulness into a melodic song that will leave live audiences demanding more.

Unusually the first single from the album is the final track and Dog Day hard-edged rocking your socks off with its booming bass line and once again Dan is challenging the stress we create that is, in reality, a first world problem. Self-absorbing, making us run faster-seeking something that cannot be defined. Yes as Dan Patlansky says Perfection Kills defining the sound and approach on his latest album. Dan may say Perfection Kills – one thing for certain very track is a Killer and who cares about perfection? We love the tone, texture, feel and organic energy captured by voice and guitar that define Dan Patlansky on every track he plays. Blues that definitely rocks perfection of its pedestal.

Dan Patlansky Guitar and Vocals asks if Perfection Kills

TENpawprint half inchdoodle paws out of TEN …

Track Listing

  1. Johnny
  2. Never Long Enough
  3. Mayday
  4. Too Far Gone
  5. Judge a Man
  6. Junket Man
  7. Eyes
  8. Shake The Cage
  9. My Dear Boy
  10. Dog Day

Dan Patlansky chatted to Liz about making the album, the repair on Old Red and more check out what was said:-

Perfection Kills as We Talk to Dan Patlansky



Dan Patlansky Guitar and Vocals asks if Perfection Kills

Steaming Hot Black Coffee Courtesy Of Hart Bonamassa Combo

Steaming Hot Black Coffee Courtesy Of Hart Bonamassa ComboSteaming Hot Black Coffee Courtesy of Beth Hart Joe Bonamassa Combo

Black Coffee is only as tasty as the beans selected and then the careful roasting to leave a smooth, tasty brew with depths of flavours and tastes to excite those taste buds. Has this been achieved as Beth Hart & Joe Bonamassa collaborate once again on Black Coffee?  We have waited four years for the album to be brewed and the wait is worth it the tonal textures and shapes excite adding new nuances to the selection of songs chosen by Hart & Bonamassa for our aural stimulation. The production takes the music and adds that magic to the sound just as master coffee roasters use all of their sense so does Kevin ‘The Caveman’ Shirley.

The songs have been selected to touch your soul as they have been re-imagined and given magical sparkle to the lyrics as they are vocalized through the phenomenal vocal chords of Ms Beth Hart. With the guitar playing of Joe Bonamassa that laughs, cry’s and squeals as the emotion are wrung from the tracks by his six-strings. Added to the mix Hart & Bonamassa have surrounded themselves with musicians who understand intuitively the way Beth & Joe work. The Black Coffee is definitely steaming, as the album invigorates the classics.

Opening the album is the guitar of Joe Bonamassa, full on the distorted ear-catching heavy rock with the horns picking up the notes and heralding the vocals of Beth. Whenever I hear Beth her voice sends that luscious tingle of pure pleasure down my spine. Give It Everything You Got, the Edgar Winter number from his White Trash album is a masterstroke as the opener as it is telling you this is music that has been blended with skill and understanding and you are filled with the warmth of soulful sounds.  Turning next to Etta James, Damn Your Eyes. Her voice is the focus of the album as Hart blends the inner chemistry of great women singers, to simply compare her to Janis Joplin or Nina Simone is just not enough. Her vocals are power and vulnerability pure and dirty. She is Beth Hart and her vocals are incomparable as she makes this number her own with a warmth that adds to the inner mystery of the number.

The Title track, Black Coffee associated with Humble Pie & Steve Marriott was originally sung by Ike & Tina Turner. She sings each word with a tonal depth that you just want it to go on and on Black Coffee, dark, hot and tasty. Beth’s voice captures every sip of coffee that invigorates your soul. The instrumentation is minimal, chords from keys plus the addition of backing vocals echoing Beth’s refrain of Black Coffee.  Three songs in – I am well and truly hooked. Every number is superb, definitely an album that once loaded stays on re-play.

Now we travel to Broadway with Lullaby of The Leaves, the temperature changes. The sound is a gentle soothing refrain with the guitar work from Bonamassa adding to the quality of re-imagining Etta James’ number from Hello Dolly. We are now calm, refreshed and ready for what else the album unfolds. This is the perfect duet of vocals and guitar captured by Beth Hart & Joe Bonamassa, the intensity is palpable.

We are all Saved by the lyrical dexterity that is demonstrated by Beth on a number covered by many and sung originally by LaVern Baker.  The tempo is picked up and we are now moving with the vibe created. Then a classic has been done so many times you do wonder do we need another one? Yes, we do! The Howlin’ Wolf number grounds the album with this version that has a sting in its tail a mix of coffee ground and cream. Beth’s vocals drawl through the lyrics with the splash of guitar and the judiciously added tone from keys.

Closing out with Addicted from a collaboration that sparkles and shines every track has a dimension that thrills, surprises and leaves with a musical smile of delight. Choosing not to close with a well-known, establish classic they have left one surprise in the coffee pot a track from Austrian trio Waldeck a new name for me. Shirley came across this 2007 trip-hop leaning album whilst on holiday and “shazamed” it. If you weren’t Addicted to the Beth & Joe combo you will be after a swig of this layered and tuneful album. Black Coffee that will always hit all the right spots.


Black Coffee – Beth Hart & Joe BonamassaMascot Label Group

TENpawprint half inchdoodle paws out of TEN …

Track Listing

  1. Give It Everything You Got
  2. Damn Your Eyes
  3. Black Coffee
  4. Lullaby Of The Leaves
  5. Why Don’t You Do Right
  6. Saved
  7. Sitting On Top Of The World
  8. Joy
  9. Soul On Fire
  10. Addicted
  11. Baby I Love You (Bonus Track)


Band Members
Anton Fig (Drums/Percussion)
Ron Dziubla (Saxophone)
Lee Thornburg (Horn Arrangements/Trumpet/Trombone)
Reese Wynans (Keyboards)
Michael Rhodes (Bass)
Rob McNelley (Rhythm Guitar)
Paulie Cerra (Saxophone)
Mahalia Barnes (Backing Vocals)
Jade Macrae (Backing Vocals)
Juanita Tippins (Backing vocals)

Recorded at the Palms, Las Vegas


Steaming Hot Black Coffee Courtesy Of Hart Bonamassa Combo

In Conversation As the Starting Gun Fires Up For Bad Flowers

In Conversation As the Starting Gun Fires Up For Bad Flowers

Liz chatting with Tom Leighton Lead Vocalist and Guitarist for The Bad Flowers. Good evening Tom, thank you for taking time out to chat to Bluesdoodles. The Bad Flowers will be a new band to many readers of Bluesdoodles. So this is the perfect chance to talk about debut album and part of a tour we are all excited about.  With The Bad Flowers as special guests for a night of exciting music with Jared James Nichols & Stone Broken.



As a Midlands based hard rock band, what were your first musical influences growing up in Cannock?

Thin Lizzie was the first band me and Dale the bass player latched on to so we have that common ground. Then there was Black Sabbath and stuff like that in the Midlands. Dale is a huge Gezzer Butler fan. So all bands of that ilk really. The first band I went to see live with my Dad was Wishbone Ash. So it is all Classic rock that influences me. You have quite a heritage of classic from coming from that area?  Yes, we have Glenn Hughes, Galley Brothers they were obviously Trapeze to start with, Dale was lucky enough to have a jam with Mel Galley which was pretty cool. There are some great bands come out of the area, the likes of Slade, Noddy Holder is one of my favourite singers; Robert Plant is from Wolverhampton so it is a good area from Heritage for sureIt is not just about Heritage though it is about moving music on keeping it modern and fresh. It is definitely about tipping your cap to that but doing your own thing as well trying to keep that flame going. There are a bunch of bands coming out at the minute there is Stone Broken, Broken Witt Rebels, ourselves, and there is Piston from Cannock. Not heard of Piston! Piston, yea they are good guys man, playing similar sort of thing, yes they’re a bunch of great bands coming out of the Midlands at the minute doing lots of good things so all good.

In Conversation As the Starting Gun Fires Up For Bad FlowersThe opening track of Starting Gun, Thunder Child has been released as a single which is catching the ear of reviewers for all the right reasons. How did you decide on this number to unleash the power of The Bad Flowers album for radio play etc?

It was one of the later songs that we wrote for the album. When we played the riff for the first time, we came up with the riff it was like yea this is kinda us it was fast paced, quite a heavy riff shows us all off. The bass line is great, and the drumming great in it. It is fast paced and catching the ear let’s go with this one. We have similar songs on the album but because it was last it was so fresh and no one had heard it ever. We hadn’t played it so let’s put it out it is totally new. So was the album mainly material you have played live or mainly new material? Majority of it is fresh, majority brand new. City Lights was actually on our last EP; it has been one of the most popular songs when we play live. We have noticed recently that when we play it people starting to sing back the words at the beginning it is a strange feeling to have but good feeling but it is strange. We felt that song still had some legs so we put it on the album the rest we have written in the last year so all pretty new. Tom, are you the songwriter?  Yea all the lyrics and everything. We come up with the riffs altogether.

How do you define the music of The Bad Flowers so that you stand out from the plethora of trios playing rock?

Well, the one word we get a lot is ‘Thunderous’ which is a good word to describe us especially live we’ve always gone out as a three-piece but make it sound like there are more than the three of us. Thunderous Rock n’ roll – I like that description. I think it gets us down to a T really.  But, the album shows off a little bit a softer side to it at times. Trying to be a bit diverse. Yes, there is a really nice acoustic track included.  Yes, it is I Hope   So will you be including the softer side into your live set? In the live set, it is all pretty heavy. From the album, Lets Misbehave that starts softer and builds which we have put into our last two live shows. It went down really, really well so may keep that in for the New Year when we go on tour, and just depends on how long a set we get as it is one of the longer songs. It is one of my favourite songs on the album to be fair.

I didn’t pick up thunderous on the first couple of listens. I felt the Album is full of volcanic rocking energy, with the artwork on the cover of Starting Gun is eye-catching reflecting bands and album name how did you arrive at this image and album name for your debut?

The name is actually a lyric from Thunder Child – it is like The Thunder Clap is my Starting Gun. When we were thinking of a name for the album Starting Gun clicked in my head. It is our first album we are making the statement we want to go in with a bang really. So we came to the conclusion it would be a good name for the album.  Then the artwork was a collaboration between myself and our friend Shaun, who is a singer in a band Liberty Lies and he did the design work for us and we are really happy. Yes, great artwork. Love seeing artwork relevant to the album but not a picture of the band. We have always been a fan of artwork and things. Our previous EP had like a Lion, Shark and a Phoenix on it because each of us has one of these tattooed on us somewhere, so we put it all together and I drew that myself.  This time round got Shaun to do the artwork as he is very talented. Yes, we are really happy with it. We actually got the full CD’s today and they look amazing. It is the vinyl I am looking forward to getting my hands on the most I can’t wait.

Starting Gun, Engineered at Vigo Studios in Birmingham then the music travelled to Hamburg, Germany for Mastering? How and why did you choose this combination?

We spoke to the guy online. He noticed us through the power of Social Media, perhaps Instagram, that we were recording and he sort of pitched himself to us. We sent him a track to test out how it sounded and it came back and sounded really good. It fitted into our budget and we loved the way he worked so it was great. So that was how it came back. So social media chose the path. We spent some time in Germany last year but it was just a coincidence really, it came about at the right time and worked out really well. It has got a lovely sound the album. We tried to keep the sound as analogue as we could and mix it like we were playing live when we were recording trying to capture the energy a bit. We don’t even use a click track, we just go in and play it. Yes, it has got that clean has a natural feel.  Yes, it is the human element we don’t like recording like a machine, we don’t even use a click track. We just go in and play so some of it might speed up a little bit or slow down a little bit but we just like to play how we play live capturing the energy that is how we have always done it and works really well for us as well.   It would take us longer to record to a click track, to be honest with you (laughing). For those who want to know what is a Click Track? It is like a metronome. It is a constant perfect timing that you play along to, but we play by feel.

As the Guitarist and vocalist do you have a favourite track?  Yes, as I said Let’s Misbehave. What made this track the favourite?  Yes pretty much. I was going through a strange point in my life when we did that and it kind reflects that a little bit. We had the music for quite a long time before the lyrics. The lyrics for that I went into the studio and I had very little idea and then recorded it in an evening. It was just one of those moments, you listen back and go that’s the one! So it was done in two or three takes that song was done lyrically. So in an evening you started you had no idea and it has become one of your favourites?  I did have an inkling, a few lines but nothing set in stone.  The chorus which was set in stone it was the verses that took the time.  But we sat down and the Producer Adam really helped me with them in phrasing and things like that, we listened back and did it in an evening. It was one of those great moments that you can only get writing music.

The rhythm section of Dale on Bass & Karl on Drums is a powerhouse how do the three of you work together ensuring the sound is coherent and works so well with your vocals and guitar so that the melodic flow is never lost against that powerhouse?

It is a kinda unconscious thing really. Me and Dale have been playing together since we were about 16/17. So we have only really been in bands playing together and the majority has been as a three-piece. When Karl joined about three and half years ago now, we had to look for the right person to fit in with Dale and myself. We have been playing together for so long it isn’t easy.  As soon as he started playing with us it was like we had been playing together months not minutes. It is something that I have always said. When we are playing together it is like we are all on the same wavelength. Dale & Karl are really good at locking in together. If something is not right Dale or Karl will shout out straight away. We won’t sit on things we are always upfront and honest with each other, if things have to be changed then that is what happens. It works well when we are in the studio/ rehearsing. Hard to explain it just clicks.

The Bad Flowers are out on Tour in March with fellow Midlands’s band Stone Broken and American Jared James Nichols. Which tracks from the album and why will be played live and loud.

We are quite good friends with Jared we toured with him November 2016 and we have stayed in touch ever since.  When he came over last summer for festivals we hung out with him, so it is going to be a tour with all of our friends. It is I think quite a good line-up. Everything that is on the album is or has been on the live set recently. Hopefully get Let’s Misbehave on there because I love that track, Who Needs A Soul, Thunder Child, Hurricane and I Don’t Believe It, which is kinda treading new ground for us.  It is quite a fast paced riffy track with lots of parts to it. When we first started playing it live we struggled then it clicked and is now one of our favourites. City Lights different live to what is on the album and has been the losing number but may shake it up on this tour.  Going to be fun, lots of new venues and people to play to live and loud lots of foot stomping.

If you were putting together the perfect band with members from across the years (dead or alive) who would you have playing

Drums: John Bonham
Bass: John Entwistle
Guitar: Daniel Sproul (Rose Hill Drive one of the reasons why we got together so have to have their guitarist who is phenomenal)
Vocals: Robert Plant


In Conversation As the Starting Gun Fires Up For Bad Flowers



Vocals & Guitar: Tom Leighton

Bass: Dale Tonks

Drums: Karl Selickis



Bad Flowers on Tour 2018

Read More about the tour and links to tickets HERE


In Conversation As the Starting Gun Fires Up For Bad Flowers