Explore A Small World Enlarged Beautifully by Dan Burnett

Explore A Small World Enlarged Beautifully by Dan BurnettSometimes an E.P. disappoints, not just because it leaves you wanting more but as often with a collection of Short Stories the artist has not used the six tracks to truly promote the nuances that make an artist demand attention. This is not the case on Dan Burnett’s Small World E.P. Yes, you are left wanting more. But he opens the door into his world of musical tones and shapes on Small World a collection of five originals and the bonus track a stylish cover of the oft-covered Bob Dylan’s All Along The Watchtower.  Explore A Small World Enlarged by Dan Burnett, on an E.P. that connects to you personally up close with intimate insights into Burnett’s music.

Opening with the title track, Small World is a light ditty with strong piano with hints of New Orleans as we are in Pittsburg with Dan as he realizes how small and connected we are in a world where contact with each other is easy.  The harmonica moans as we eavesdrop on a drunken conversation in the early hours at a hotel bar. The power is in our hands to change relationships and feelings to communicate.  The Piano from Dan is superb promising more of what is to come. The mood changes with Battle Scars, Dan refers to this as his ‘mental health anthem’. Taking us behind visible scars with a simple number sung with passion and empathy and deep understanding as the organ takes up the melodic tones. The next two tracks explore relationships as the deepness of keys are added with another set of strong lyrically driven songs. The last of the originals Reason For Living, written for Dan’s son Alfie and life-affirming about the changing power of his son in his life. The piano is strong with a driving beat and leaves you understanding Dan and yourself a bit more.

The bonus track Dan re-arranges the Dylan classic All Along The Watchtower. Stripped back with grand piano and organ intermingling creating the atmosphere that lets the lyrics pop out with intensity and poetry. Reminding us of the influence of Dylan on songwriting, Burnett has reclaimed this classic for the singer-songwriter and not just for a would-be Hendrix. The atmosphere is built and the laughter heard in response to the words adds to the intimacy of the album. For twenty-four minutes we are in a deeply personal space, the songs sung for us in the most intimate of shows that you can listen to whenever you want. These are six shining gems produced and delivered with love Get close and personal and explore a Small World enlarged beautifully by Dan Burnett.

Small World – Dan Burnett 

EIGHTpawprint half inchdoodle paws out of TEN …

Track Listing

  1. Small World
  2. Battle Scars
  3. Last First Kiss
  4. Time Has Come
  5. Reason For Living
  6. All Along The Watchtower

Explore A Small World Enlarged Beautifully by Dan Burnett

Robert Plant Solo Album Carry Fire Music Burns Deep

Robert Plant Solo Album Carry Fire Music Burns Deep

 

Robert Plant’s Solo Album Carry Fire the music burns deep. The music has hidden depths, as layers of tonal shapes and textures interlace with the thoughtful lyrics. Carry Fire is rooted in the earth, ethereal as air, turbulent as water and hot as fire as the four elements encapsulated across the eleven tracks. Joining Plant on his eleventh solo album for the second time are The Sensational Shape Shifters. The tonal range of the album is mellow and fruitful as Plant captures a misty melancholy yearning that is often felt in autumn. The colours are rich and fiery but these soon will fade as the year turns and seasons come and go.  The soundscapes are painted that weaves through the tracks shaped by the instruments chosen as the passions wax and wane. Opening Carry Fire, with a jaunty number The May Queen we start off looking forward or back to a different season. The percussive beats hint at dance, light and merriment and surrendering as folk and rock merge at a crossroads of Plant’s own design contemporary and rooted deep in the roots of world folk traditions from North Africa and closer to home. Beguiling leaving you wanting to hear more as we Carry Fire on a journey with the lyrics of Robert Plant once more.

The use of a myriad of instruments on Carry Fire reflects the wealth of tones available to artists like Plant and Steve Hackett’s album Siren Nights earlier this year. Modern folk/roots/rock music is not just guitar led it is strengthened with the tonal complexity of instruments used across the world rooted in the earth creating a fiery musical backdrop.   The array of instruments is a reflection of the virtuosity of The Sensational Space Shifters, who are with a selection of the instruments captured on Carry Fire. They are Austin Adams (Guitars, Oud, Percussion & Tambourine) Liam “Skin” Tyson, (Guitars, Dobro, twelve string, pedal steel etc.) John Baggott, (Keyboards, Moog, t’bal, bendir, slide guitar) Dave Smith (bendir, djembe, drums) and joining them are Seth Lakeman (Viola & fiddle) and Albanian Cellist Redi Hasa.

We are on the move, a feeling of urgency with the beating of drums as Plant explores the negativity of colonialism and modern topics that are part of the political, cultural and personal landscapes with nationalism addressed in Carving Up the World Again… A Wall Not A Fence. The beat is frenetic, his voice raised in passionate anger as he spits out the words. The instruments burn and coil around the lyrics, the attention is one-hundred percent on Plant’s impassioned lyrical outpouring. Powerful music for the age.

The title track coalesces around the instruments conjuring a fire in the deep darkness of a desert encampment. Plant once again captures the mood with the depth of lyric and the power of delivery. Deeper and with a sultry edge the younger Plant voice did not deliver. Age has shaped the interpretation of lyrics and music. The traditional North African instruments a song of love and the pain we inflict on ourselves and each other full of wistfulness and hope as Robert sings “I will Carry Fire for you….”  Once again the song is rooted in tradition ground deep in the desert sands.

The tonal resonance changes with Bones Of Saints, hard-edged less fusion more rock. On the only cover on the album, Ersel Hickey’s  Bluebirds Over The Mountain, Robert Plant is joined by a Chrissie Hynde the vocals reflect the changes in vocal ranges.  The play of percussive power and violin adds to the hunger and energy in the number. Closing the album with Heaven Sent, the embers of Carry Fire are fading and the song gently leads us to the closing notes. Seasons turn and we all age. This is a testament to the longevity of Robert Plant who has delivered a beautiful reflective album. The hints of his past musical explorations can be heard as gentle echoes. They never overwhelm Carry Fire an album-defining Robert Plant in 2017.

Robert Plant – Carry Fire – Nonesuch/Warner Bros. Records

EIGHTpawprint half inchdoodle paws out of TEN …

Track Listing

  1. The May Queen
  2. New World
  3. Season’s Song
  4. Dance With You Tonight
  5. Carving Up The World Again… A Wall Not A Fence
  6. A Way With Words
  7. Carry Fire
  8. Bones Of Saints
  9. Keep It Hid
  10. Bluebirds Over Mountains
  11. Heaven Sent

Robert Plant Solo Album Carry Fire Music Burns Deep

Dave Arcari Live At Memorial Hall On Best Behaviour

Dave Arcari Live At Memorial Hall On Best Behaviour

Dave Arcari Live At Memorial Hall

On Best Behaviour

 

Dave Arcari Live at Memorial Hall on Best Behaviour as over an evening of live entertainment he recorded twenty-four songs (Vinyl has two additional number) that define the distinctive Arcari blues sound. Dave Arcari, love him (we do) or hate him he is a tour-de-force of the guitar that cannot be ignored. Like the Scottish thistle, he combines a thorny side and a gentler bloom. Creating an emblematic sound blues fueled with punk and buckets of Glaswegian attitude.  Live albums are a complex beast, you need to have the adrenalin fueled energy of a live performance, the presence of the audience but above all the music must shine through and the character of the artist. Dave Arcari Live at Memorial Hall on Best Behavior; achieves this with every number never to be repeated this was the way the song was played tonight.

Opening with guitar intro of Dreamt I Was 100 chatting relaxed you could see the glint in his eye as he sang the words of a song his fans know so well. As you would expect the album includes his favourites from across his studio albums. In between, we are treated to some new material that adds some spice not often seen on a live album.

The rendition of Parcel of Rogues continues to resonate through the modern dialogue of Scotland as a nation and relationship with England. When asked by BBC for a documentary to do a Rabbie Burns number Parcel of Rogues suits Dave Arcari style to a tee. Despite what he says I am sure Rabbie would delight in his playing and the fact that the poem still resonates with a passion through the nation. The tone that Dave gets out of his guitar resonates, sometimes with menace and other times with an empathy that brings story telling blues up into the modern day. The contrast evident won the next two numbers Nobody’s Fool, as we learn he was a debt collector and Nobody’s Fool is all about poacher turned Gamekeeper.  His gentler country side, thoughtful and showing his strength of friendships he forges where ever he lays down his guitars as Good Moonshine a travelling song with a Country twang from his EP Hellbound Train. The gentler theme continues with a gentle sound of Still Good Friends reminiscent of Cat Stevens in tonal shape and sound.  Another of the new gems that will certainly be a live favourite is Givers and Takers a twenty-first-century tale fitting in neatly with the journey Dave is taking us on tonight as he creates his live album.

With any live show, the audiences love the familiar numbers from Texicalli Waltz through to Devil’s Left Hand we love the retelling of playing it live for the first time to Steve Earle fans we are so glad he lived to tell the tale!  McPherson’s Lament and Cherry Wine.   Closing out with the wild Arcari not so quiet acoustic tune of Walkin’ Blues/Pearline. As the last notes fade the applause is rapturous.

The evening was a delightful stroll, march and aural assault as we are encouraged to Come With Me on the Hellbound Train via the Devils Left Hand as we are Nobody’s Fool with Whisky in My Blood! A real tour of his studio albums.

The songs and guitar playing has a warmth and tonal shape never quite repeated on studio albums. As the numbers unfolded, I could not help smile with pure pleasure as memories of live shows I attended. Dave Arcari Live at Memorial Hall on Best Behaviour; judge for yourself as SoundCloud stream with the comment after some of the songs **explicit or **explicit Intro. Seeing this it was confirmation that Dave Arcari nailed it live at Memorial Hall.

Recorded in March at Memorial Hall on the east side of Loch Lomond close to Arcari’s home, the album will be available on double 180g coloured vinyl and digipak CD as well as download/streaming via iTunes, Spotify, Amazon MP3 and the usual digital services.

 

Dave Arcari – Live At Memorial Hall – Buzz Records

Release Date Friday 1st September 2017

TENpawprint half inchdoodle paws out of TEN ….

Track Listing

  1. Dreamt I Was 100
  2. Cotton on my Back
  3. Travelling Man
  4. Parcel of Rogues
  5. Nobody’s Fool
  6. Good Moonshine
  7. Still Friends
  8. Trouble in Mind
  9. Whisky in my Blood
  10. Red Letter Blues ** Vinyl edition Bonus Track
  11. Got Me Electric
  12. Texicalli Waltz
  13. Good Friend Blues
  14. Givers & Takers
  15. Homesick & Blue
  16. 1923
  17. Cherry Wine
  18. MacPherson’s Lament
  19. Devil’s Left Hand
  20. Another Chance
  21. Bring My Baby Back
  22. Hangman’s Blues
  23. Hellbound Train
  24. Close To The Edge ** Vinyl edition Bonus Track
  25. See Me Laughing
  26. Walkin’ Blues

 

Dave Arcari Live At Memorial Hall On Best Behaviour

Kev Minney Debut Album Inspired By Stories of The Skies

Kev Minney Debut Album Inspired By Stories of The Skies

Kev Minney Debut Album Inspired By Stories of The Skies

 

 

Looking to the stars Kev Minney combines his passions, guitar, songwriting, and astronomer to create a debut album Stories of the Skies. The singer-songwriter’s acoustic debut shows the depths of style the Brighton-based musician has explored. The album has a simplicity on first listening. Underneath the lyrics and change in guitar, tempo creates a layering reflecting when you first look into the night skies it takes a while to distinguish the stars and constellations spread out before you.

The use of instruments from violin to piano to augment the tonal shaping of the acoustic guitar includes using open tuning to create a melodic haunting sound. The combination works throughout the album. There is always just enough to add but never dominate.  This is an album created with thought and attention to detail. The one constant is Kev’s vocals that gently caresses the lyrics and floats above the instruments giving the tracks an ethereal feeling.

Opening with the title track you are instantly transported into the world the Minney has created. The beat changes with a dance rhythm a pop melody as the essence of the Bossa Nova is captured in Like I Always, as anxiety when trying to o beyond the horizon facing a challenge. The narrative told with innate sensitivity.

Inspired by Joni Mitchel and Nick Drake he has created a sound that is uniquely his. Dark Skies demonstrates once again his skills on the acoustic guitar. The track that was the starting point of the album showcasing the perfectionist element of the singer obsessed with astronomy.  The haunting violin pulses through the melody with Fairy Tales and Chains a track that looks at changing times, asking questions that are relevant and emotionally engaging. The stars once again a certainty and constant grounding force.

Closing with the most upbeat number the piano adds a twinkle to the tone as we explore Stardust. Minney’s vocals are more relaxed the journey examining stars, change and emotions have been cathartic and Stardust is the magic ingredient of release and freedom.

The ten tracks on the debut album without the backing of a label were made possible with help from the Arts Council in the form of a grant awarded in 2016, so Kev has been able to pay everyone involved in creating the album.  There is no argument this is an album for lovers of acoustic. For those who appreciate sparsity the space between notes and lyrics where you can gather your thoughts as you try to make sense of life and emotions.

A debut album with promise. The only thing that holds it back is the sound blends at times there feels like there is no definite change in mood and feeling between the tracks as they meld together. Your attention to the lyrics gets lost at times. Anger sometimes is a good thing combined with on occasion a more assertive sound.

Soon to be out in tour, the translation of the songs from studio to stage will be interesting. Having battled with a stutter and stage fright he has used his obsessive nature to overcome and master the power of being a singer/songwriter to share your inner feelings and turmoil with sensitivity and openness.

Kev Minney –  Stories of The Skies

Release Date 8th September

SEVENpawprint half inchdoodle paws out of TEN ….

Track Listing

    1. Chaos In The Sky
    2. Like I Always
    3. Just Another Day
    4. Dark Stars
    5. Time
    6. Can You Feel It Too
    7. Fairy Tales & Chains
    8. Gravity
    9. Chances
    10. Stardust

 

Like I Always  the second single from Stories of The Skies

 

Kev Minney Debut Album Inspired By Stories of The Skies

 

Bluesdoodles In Conversation with Sonny Landreth

Bluesdoodles In Conversation with Sonny Landreth

Bluesdoodles In Conversation with Sonny Landreth

 

 

BD: Firstly, thank you for taking the time out to chat with Bluesdoodles today; July 4th.  I was delighted to have had the opportunity via Mascot to review your latest album Live at LaFayette; it is ninety-three minutes of music heaven, smooth, warm and spiced up with clever licks and breaks to keep the listening ear totally engaged.

SL: Great, I love hearing that we try to plan some of these things out, but other things we have no control over and just hope it all pans out when playing live.

BD: What were your first musical influences growing up in Louisiana?
SL: In Louisiana I was already into music, my elder brother Steve was always bringing music in to the house. Elvis Presley was a big thing in Mississippi when I was still living there. Then I discovered Scotty Moore. By the time we got here, there was always music in the area as it is such a big part of the culture here with the Cajun and Creole influences. There were shows on the weekend, on TV and live bands playing, bands would play at the openings for a store you name it a flatbed truck would have a band playing on there, that was in the area and it was great to have that. Walking down town on my first Mardi Gras locally and I sneaked into a bar because I was mesmerized by the sound on the jukebox it was Ray Charles. It was great my family would go back to New Orleans that was the first time I heard Jazz, Rn’B and second line rhythms and so forth. So between all the influences of the music I liked I became a big fan of Chet Atkins, The Jazz Cats and Wes Montgomery. I started out on the trumpet so I had all those jazz heroes like Miles Davies, Ornette Coleman and so forth. So by time I got into the blues which is more of a guitar thing I was thirteen and the list goes on and on… (laughing)

 BD: So what Made you change from the Trumpet to the guitar?

SL:  Well I actually kept up the trumpet at school from 10 years old, fifth grade up until my two years in college and twenty. By the time I started to play guitar the Beatles came along and everybody wanted to have a band. If Scotty Moore fired me up to learn how to play a guitar it was The Beatles that fired me up to play in a band, as did my best friend Tommy, he wanted to play drums and that was our first band he and I, guitar and drums, lot simpler back then! You know with the guitar learning Beatles songs, really for us it was the instrumental thing that worked up some of those songs, played our first gig, we were hooked. A little later I was working in a family operated music store Prof Erny – that was a great experience. He supplied the music, sheet music, instruments for all the band directors in the area.  They sold records, they had a guitar room, so I was lost in there most of the time. There was an older kid there who said man you have to listen to Chet Atkins. Well I heard of him so he sat down and started playing Chet songs it just blew my mind. He started to teach me finger style, so I had to practice that to get the right hand finger picking style of Chet. That was my entry in to the world of solo guitar meaning playing the melody, rhythm and bass lines all at the same time and think of the guitar as a solo instrument. By the time I started listening to the Delta Blues and getting into the blues that’s how I related to the finger picking of all the old blues cats. Started tackling the Slide, I had Chet’s Right Hand technique and slide on little finger of my left hand that started me on my path really.

BD: That all sounds really clever to me!

SL: Well sure shows how clever I was. I was young so into it, so enthusiastic, didn’t have any hang-ups, preconceptions or perceived notions. My worlds view is about figuring out the next chord.  Not a bad place to be, you don’t have prejudiced perception. So your view of reality has not been so imposed on, that you are not open to any and all ideas. I think that was one of the great things about being raised here in South Louisiana because music is such a part of the culture I was open to everything and all those influences.

BD: Yes lots people get closed into a style or approach very early one.

SL Yes they do, I think having played a wind instrument to start off with I came to the guitar with a different perspective, more like a horn player. Where you have to take a breath that affected my phrasing. I guess what I was trying to accomplish on the guitar was different from my contemporaries. They were coming more rock n’ Roll cranking it up to 10 and fire away nothing wrong with that I love it. It helped me in addition to that to think of it in a different way more dynamically. Also that is where the slide comes in because of its vocal quality. I didn’t realise it at the time, but many years later I recognise that my jazz and blues heroes were all striving to emulate the human voice so slide really leads itself to that because of its lyrical quality.

Bluesdoodles In Conversation with Sonny LandrethBD: Live at LaFayette is a long awaited live album. How did you decide which tracks to include from the three nights and the decision to have a mix of Acoustic & Electric and as a double album.

SL: That was one of the advantages of doing it here at home. Everything came together my engineer’s studio just few blocks away as a resource for equipment, had him there and musicians in the main are all close by. There is a real nice theatre that has been built since my last live album I did eleven years ago. It was perfect setting for this kind of thing for a multi-night stance. We went in on the Monday set up, sound checked rehearsed with my trio Steve Conn and Sam Broussard. We recorded three nights in a row, that way you can relax more, you have more than one go at it. The hardest thing about recording live is not to think about it, not worry about it, get into the moment just like you do at any other gig that is what you have to capture. So in order to decide which songs that was a little bit of a trip.  Some songs were real obvious, some of the instrumentals I wanted to get those down just like we play night after night with my trio. Then I knew I wanted Steve and Sam to expand some of the other songs that we had been playing like for example Back To Bayou Teche and Walkin Blues I knew they would wail on those, have more colour more texture creating a big sound. Acoustic is where it got really interesting I started to think well, some of these songs that had been electric all along and had bigger production in the studio like probably any songwriter would tell you. Some of those songs  started out with me just on an acoustic guitar coming up with ideas, melodic line, set of changes that led to an idea for a lick, then led to a line lyric line of song becomes a chorus. Takes a while! That is what the whole process revolves around just you on an acoustic guitar. Went back to that just to embrace the essence build on it somewhat with an ensemble it was fun cos then you are re-interpreting songs that had a bigger production on the albums. I have always felt a good song can be interpreted in a number of ways like Creole Angel and Bound By The Blues actually speak better as an acoustic setting.  Because there are so many lyrics they go by so quickly and I think the audience gets engaged more. There are some element of dynamics as well, we figured out the best first come out and do an acoustic set, take a break and then come back out and ramp it up. That is how we approached the recording as well, then I realised we had enough material to do a whole disc acoustic and another electric. We kept adding a song each night that is how it came about. I wish I could say I masterminded the whole thing from day one, had it all planned out. I always wanted to leave something to chance anyway cos that is where some of the more interesting stuff happens, but in terms developing into the concept of a double album it was kinda cool how that came about.

BD: If planned too much it can become too produced too sterile?

SL: Yes, it does nothing wrong with that if that is your thing.  That is what I love about the studio a lot of that is like a painting where you have a canvas and you are adding colours then you get up one morning and you go that looks really good here or embellish it here and that is great. The thing about a live performance the energy with audience and the performers it becomes actually something else more personal connection that way. It certainly propels us to play better there is no doubt about it I can’t really do that in the studio up to a point. To be honest our last album Bound By The Blues was pretty much live in the studio with my trio and so we had lot of that feel about it. But when I have an audience it just takes it to another level and that is what you want to capture with a live album. And the other thing was in that setting and have it be somewhat of a retrospective of different songs over my career which I felt took it to the next level as well more of a personal statement. Something I felt the long-time fans would appreciate the different interpretations you know and then  for newcomers be a good introduction. BD: And they will then go and explore your other albums! SD: I mean it was kinda like your life flashing before your eyes. To be honest it was a nice affirmation to have too many songs to chose from. I would far rather have that than like only have three albums for forty-six years on the road that would be little disappointing. That was fun for me I enjoyed that aspect of it.

BD: Tell our readers about your infectious sound delta blues and zydeco influences? And for people especially in UK what is it about zydeco, creole sound that you create, separating your sound from pure Delta?

SL: Two different things in that regard, there is common thread and that is the Blues.Zydeco music Creole much influence of their African roots, original tribes, sound, rhythms and syncopations in particular and that is the biggest difference between that and Cajun music. Cajun music is the descendants of Nova Scotia and the Great North up there who were deported and settled in this area and a lot of them grew up side-by-side with Creoles so there was a give and take, that is really beautiful there which is why the music is so rich and diverse. Delta Blues across the Mississippi River there is a thread if you listen to say Mississippi John Hurt, playing his acoustic guitar and singing basically telling a story, call them story songs. Then if you were to hear Clifton Chenier playing Blues always in his repertoire, he mixed up blues with everything else and he formulated the sound, the great pinnacle to Zydeco sound there was that element to it. Zydeco per se is real upbeat, syncopated and really the best of it Clifton on his accordion, his drummer Big Robert and his brother Cleveland on the rub board. The three of them would just get of the stage a played old style Zyedeco, I just loved it, you just can’t not move when you hear that music, it is good for the soul.

BD: What are the Blues or how do you define the Blues the perennial debate?

SL: For me main thing about the blues if you take an overview it is such a profound experience again speaking culturally again. It is Grace in the face of adversity. Lot of the kids coming up they learn the licks try and get across to them they need to study the history of the players and the time they lived and what they were going through. It is the back story that is so important and all of them that as a common denominator overcoming challenges. That is why Blues is a universal language, it is something people all over the world relate to. It is these challenges really the things that unite us, I think that is why it resonates with people everywhere. It will always be pertinent, always evolve, will have new players. A lot of the old guard we have lost; not many left at all. That is probably true of all folk music or music that is important of the people. When I say folk music I literally mean music comes from people and their lives, big part of history there that’s when you factor that into story songs it becomes a richer experience that to me is profound.

BD: For me it was your opening phrase Grace in the face of adversity is just brilliant.

SL:  Part of it is all the trials and tribulations and my God! The things that people went through was just horrific and beyond belief. But they would turn to music and they would express, there would be a release in that expression that joy in the moment a thing to have, there is something about that connection that does make it so profound. It is not just another fad or pop song sells in the moment but doesn’t equate to the test of time and that is the big difference. Great music to me is music that stands the test of time.

BD:  Your bottleneck/slide guitar style is so full of power what makes your playing stand out from the crowd and your distinctive sound many describe you as King of Slydeco?

SL: I think what happened to me looking back I am so comfortable is so many different genres of music because of growing up here and that is great, versatility is a good thing. It is possible to go in too many directions at once I think when I landed on and beginning to work with the slide and started to make my way with it I realised it was a way to crystallise all these influences into a unified sound that was my own. Very much included songwriting as well and that became my focus. The fact that I started out on another instrument, influenced by all the other instruments in the area, accordion, rub board, triangle everything because slide offers a greater potential for creating sounds, I picked up on that pretty early and would begin to try and emulate some of these other instruments so I think that is part of it. I definitely made some discoveries that opened the window in terms of possibilities, harmonically, percussively, lyrically I could accomplish all that it was a bigger layer of sound from one instrument so to speak. All those influences come to bear you hope some like cosmic dust rubs off on you. As I got more opportunities to work with people, I always paid attention to how they worked and it has to be your passion.

 BD: If you were putting together the perfect fantasy band with members from across the years (dead or alive) who would you have playing
SL: I would probably but my heroes together, I could watch them play just sit on the side of the stage

Accordion: Clifton Chenier

Drums: Big Robert, just primitive style never heard anything like him.

Bass:  Noel Redding

Guitar: BB Guitar, Jimi Hendrix

I met Jimi Hendrix in store in Baton Rouge he had run away from his road manager and I talked to him . I heard BB; Jimi and Clifton play for the first time within a year when I was 16/17 years old. I have also  met them all, takes us back to your first question that was incredible experience set the bar so high not a bad way to start out

 

BD: Are you planning to come to the UK.

SL: We are Yes, hopefully in the fall if not certainly 2018. 

 

BD: Thank you for taking time out on 4th July

 

Note from editor: Check out his music over at Sonny Landreth

 

Bluesdoodles In Conversation with Sonny Landreth

Dan Reed Announces New Solo Album Confessions

Dan Reed Announces New Solo Album Confessions

Dan Reed Announces New Solo Album Confessions

Pre-order the album now – Dan Reed Store

Dan Reed Announces New Solo Album ConfessionsDan Reed’s fourth solo album ‘Confessions’ will be available for worldwide pre-order through the Dan Reed Store from Wednesday 5th July, before it is officially released on Friday 15th September.

The new album will coincide with Dan’s intimate solo tour in beautiful settings which kicks off at London’s St. Pancras Old Church on Thursday 14th September. Tickets for Dan’s solo tour can be booked from ticketsource 

Each of the UK solo concerts will be filmed and recorded for an upcoming live DVD compilation the good new is that everyone who has bought a ticket  in the UK will receive a free DVD download in September. Bad news two of the venues are already SOLD OUT. So get the last remaining tickets TODAY! over at Ticketsource

The official music video for first single Smile will be premiered on Monday 14th August. A limited edition run of 100 signed copies of the single ‘Smile’ on 7” cream coloured vinyl is now available for pre-order before it is officially released on Friday 1st September. The single includes a second track ‘Lift You Up’ on the B-Side. Pre-order the single from the Dan Reed Store.

Confessions is Dan Reed’s fourth solo album and is a bit of a departure from previous solo releases. Reed performed all the live instruments and vocals, and also programmed the beats and synth parts.

The album features special guest appearances by guitarists Rob Daiker, Geoff Tyson and Martin Tidmarsh performing a few solos on the tracks Smile and The Great Divide, while Daiker added some additional drum programming on and mixed the album.

For Confessions, Dan wanted to create a genuine ‘solo’ album to push his own comfort zone as a keyboardist and guitarist’, creating something entirely from self-expression.

Confessions is a beautifully composed work expressing a singular intention and vision based around one integral concept in our lives. Confessions is not a rock album but rather a chilled out, electro/acoustic soul album about the oldest theme in the book… love.

There is a reason for this direction both thematically and musically. Since the reformation of the Dan Reed Network, and with their current album Fight Another Day ,released to rave reviews in 2016 including Bluesdoodles read what we said here, Reed is guiding his solo work more in the pop/soul direction and leaving the harder edged rock/funk material he enjoys writing for future DRN releases.

 

Dan Reed Announces New Solo Album Confessions

DAN REED – ‘CONFESSIONS’ – SOLO  TOUR

BOOK ONLINE – www.ticketsource.co.uk

 UPCOMING “CONFESSIONS” TOUR DATES

Book Tickets Online: www.ticketsource.co.uk

Thursday September 14 – London, England – St. Pancras Old Church
‘Confessions UK Tour’ – Filming and Recording for DVD

Friday September 15 – Manchester, England – ‘Sacred Trinity Church Salford’ –
‘Confessions UK Tour’ – Filming and Recording for DVD (SOLD OUT)

Saturday September 16 Newcastle, England – ‘ Cluny 2
‘Confessions UK Tour’ – Filming and Recording for DVD

Sunday September 17 – Nottinghamshire, England – ‘Greyhound Beeston
End of ‘Confessions UK Tour’ Party (SOLD OUT)

Friday September 22 – Helsingborg, Sweden – ‘The Tivoli’ – Dan Reed Trio

Saturday September 23 – Trollhattan, Sweden – ‘Backstage Rock Bar’
Dan Reed Trio

Friday October 6 – Bath, England – ‘Chapel Arts Centre’

Saturday October 7 – Ebbw Vale, Wales UK – ‘EVI’

Friday October 13 – Falun, Sweden – ‘Kopparhatten’

Sunday October 14 – Alingsas, Sweden – ‘MX Rock Bar’

Friday October 20 – Dublin, Ireland – ‘Whelan’s’

Saturday October 21 – Ahoghill/Belfast – ‘Diamond Rock Club’

Saturday November 11 – Trubbach, Switzerland – ‘Jonny’s Lion Cave’

Dan Reed Announces New Solo Album Confessions