Cardiff Celebrating Classic Rock Tonight Skid Row Toseland Bad Touch

Cardiff Celebrating Classic Rock Tonight Skid Row Toseland Bad Touch

Three Bands, entertaining Y Plas in Cardiff tonight.  The bands span the years, varying in longevity. They were connected, all were five pieces, with two guitarists and a charismatic vocalist upfront. First up tonight the first of the five-piece rocking delights Bad Touch. High energy start, straight into their hefty Southern Rock inspired sound. What a band to warm the crowd they know how to entertain. The set included numbers of their well-received debut album, Truth Be Told. Stevie’s vocal delivery just gets better and better his confidence and freedom to perform grows with every gig he adds to the Bad Touch roster. The future of British Classic Rock is safe in the hands of young bands picking up the torch and setting stages alight with rock glory. The anthemic My Mother Told Me allowed the audience to join in the singing. In between the numbers we knew they slipped in a new rockier number from their anticipated album out later this year. We all raised our head with Get Your Head Up – now you have really whetted our appetite for a whole set of new Bad Touch songs.  The guitars of Daniel Seekings and Rob Glendinning work together with depths of harmony that will always be a delight. We hear the cowboy song, Daniels favourites as his guitar brings in the narrative-driven number Outlaw. Closing out the set with the single from the album 99% leaving everyone wanting more. The set was short and I could have listened to them all night, but we have two more bands to entertain us Toseland and headliners Skid Row.

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With many fans in the room, wearing Toseland T-shirts it was not surprising the welcome and a Boogie-woogie fanfare accompanied the entrance to a roaring welcome from the Cardiff crowd, many of whom had heard Toseland up the mountain at Steelhouse.

The temperature rose as Toseland’s, vocals and warm smile connected to the Cardiff crowd tonight. The guitarist added depth of tone as Zurab Melua and Ed Bramford complimented each other’s tones during another energetic set. When Toseland sat behind the keys the sound deepened. Opening with Puppet On A Chain from their album Cradle The Rage along with another two numbers on their very short six-track set.  The drumming solid as ever from Joe Yoshida with booming rhythms and timing that gives the band a depth of shape when combined with the bass tones from Roger Davis.  This is the defining rock from Toseland that allows James’ voice to soar and connect with the audience. The performance was top-notch rock that sings the vocals it is the glory that makes this band a firm favourite.


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The stage is reorganized and the anticipation grows for the headliners Skid Row, as we leave behind British Rock and new bands and are treated to American Rock. I confess I have not seen Skid Row live before in any of their formats. I loved the music from the Sebastian Bach period but willing to hear the vocals from new singer ZP Theart.  Skid Row finished the night off with some furious heavy rock, definitely the heaviest tonight. Yes, the sound on the classic numbers from the original line-up was not quite the same. But ZP was not imitating previous vocalists, he was delivering the numbers his own way. Yes, he certainly looked the part and at times his voice was lost in bands delivery of heavy melodic riffs and rhythms. Other bands have had changes and Skid Row is no different from them. This the heaviest of the bands tonight with dualling guitarists that hit the mark. The duals between Snake Sabo and Scotti Hill were superb. For me, this was rock that lifted the spirit and the feel-good factor was delivered in every number that was mainly from the Seb Bach period. The atmosphere was hot, with the crowd singing, chanting along creating a friendly rocking atmosphere as we were united by the love of live music.  The crowd went wild at every opportunity. The numbers that really got the crowds ecstatic were Sweet Little Sister and 18 and Life. With some punk rock was added to the mix delivered in their signature fast, and heavy style. Monkey Business gave the band the opportunity to jam. Including solos from all the band members. Great showmanship by the guitarist this was the battle of the guitars and the judicious use of cowbell added to the atmosphere.

For me the weakest number of the night to my disappointment was I Remember You. The tempo is slower and something of the inner majesty of the number was lost tonight.  Closing with Youth Gone Wild, our youth may have disappeared over the years since we listened to Skid Row deliver the number back in 1989, the energy is still there. We left on a musical high.

The three bands format is a fabulous way of hearing new bands. For some, this was Toseland, for others Bad Touch and a few the first time hearing Skid Row live. What it does do for me every time I leave with a feeling of disappointment. However, entertaining the headliners were you are left wishing one band had a longer set to play. Tonight, for me that was Bad Touch I wanted more from charismatic vocalist Stevie Westwood and the band from Norwich. The short set gave us a glimmer of a bad that is destined for the top of the classic rock tree.  There is no argument on tonight’s performance the wait for the second album will be worth it and another headline tour. Thank you, Band Touch for your music you Rock.


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Join the Blues Party with Zoe Schwarz Blue Commotion

Join the Blues Party with Zoe Schwarz Blue Commotion

Zoë Schwarz has been a big name on the blues scene for a few years now, with her live performances particularly lauded by fans and the press. Now with her band, Blue Commotion comes an album that should lift all of them to the heights they deserve. The band got together in 2012, and this is their 5th studio album in six years; that is quite an output in a short space of time. Fortunately, there has been no sacrifice in quality, and The Blues And I Should Have A Party, has class and high production values by the bucket load. It is also a generous album with 13 tracks clocking in at over an hour.

The band is packed with talent and, even though there is no bassist listed, there are some fantastic bass lines behind some of the tracks and the sound they all achieve throughout fills any room with warmth and paints pictures with the sound they conjure.

Please Don’t Cheat On Me has a great bouncy riff and typical classy guitar from Rob. To my ears, this track is the only (very) minor disappointment on such a strong album; the lyrics and the vocals feel a bit disconnected. All is forgiven when the 6 minute plus masterpiece and title track, The Blues and I Should Have a Party kicks off. Majestic is the word…vocals, guitar and Hammond combine to give an object lesson in what blues is and should be. The guitar solo is simply superb, with notes all across the fretboard; no histrionics just sheer class. You’ve Changed is ‘Bassey does the blues’… in a good way. Zoë should do the next Bond theme, in fact, the singing is so powerful, they should write a movie to fit this song! It has an enigmatic, harmonic quality that is fleshed out by great Hammond backing and a solo of such depth and simple skill. The drumming is ingenious too; fills and flourishes you wouldn’t think would fit.

Way Down in the Caves is a true story of an unlikely venue, with lyrics written by blues promoter and broadcaster Pete Feenstra. Chislehurst Caves are actually old mine workings and, in the 1960s, provided a major music venue. The song tells of acts that appeared there “Hendrix, The Doors, David Bowie too”. That must have been one hell of a venue and here, the tale is conveyed in the lustrous tones of Zoe with Rob playing up a storm on a Marshall fuelled Les Paul. It starts off like the Stranglers had put blues into their repertoire. It also manages to evoke a flavour of some of the bands they name check in the lyrics, particularly the Yardbirds. Don’t Worry Blues has a conventional structure with an oft-forgotten appreciation of space. Rob again showing he knows how and when to play the right note and not go for unnecessary filling. With the expressive keys and subtlety throughout, I can’t help but think of Purple’s When A Blind Man Cries in the song’s atmosphere. Next comes a lovely guitar/bass/keys piece of interplay introducing Shout. This is pure 60s blues boom refined. A sort of slow progressive blues feel echoes through You Don’t Live Here Anymore. This is a beautifully sung recounting of a “hollow space where once a warm embrace”. A guitar solo of such thoughtfulness backs this emotion-laden song. We are quickly back in the groove, literally, with My Handsome Man. This has an infectious, catchy 60s poppy feel to it and will make any toe tap.  A great up-tempo swing introduces Tell Me, the only sub 3-minute track here. The three musicians are obviously having a ball and you can’t help but be caught up in the fun. Zoe’s “pulse is way too high” as she mirrors the energy with a great melody.

Don’t Hold Back is next, and, although a slow paced blues, they don’t hold back! Unexpected key changes keep the song on the edge, reflecting the steamy blues behind the melody and lyrics. Although rooted in sadness, the next song was written after the loss of Zoë’s Mother, In Memory of You has an impetus behind the fascinating chord sequences. The genius behind this is the up-tempo beat that illuminates the words, where the subject matter would suggest something much slower. The solos again are pure fascination. The mood is lifted with Pete Feenstras lyrics providing the inspiration for Time Waits for No One. If like me, some social media applications leave you cold, then the theme will surely resonate… “Changing values with different peers, digital living with new ideas”. The music takes these words and makes them real. Beautifully sung and with the instrumentation utilising an oblique time signature, it just flows out of the speakers and transfixes. It has an early psyche feel at times with echoes of a very velvety Velvet Underground. Final Track, Thank You, is just that. The band thanking all of us lovers of music be it recorded or live. This song is so clever in its composition; expansive guitar, heavy Hammond, a drum kit tour and a wonderful vocal. This listener reciprocates those thanks. Zoë, Rob, Pete and Paul have supplied an album which delivers everything a blues lover could wish for. Zoe’s vocals are always striking, but the real revelation is the breathtaking playing by the band. Every song has clear demonstrations of skills so subtle and yet so damned effective. The first track remains a weak point for me, but the album is so strong overall, frankly who cares?

NINEpawprint half inchdoodle paws out of TEN …


  1. Please Don’t Cheat On Me
  2. The Blues and I Should Have A Party
  3. You’ve Changed
  4. Way Down In The Caves
  5. Don’t Worry Blues
  6. Shout
  7. You Don’t Live Here Anymore
  8. My Handsome Man
  9. Tell Me
  10. Don’t Hold Back
  11. The Memory Of You
  12. Time Waits For No One
  13. Thank You

All songs written by Rob Koral & Zoë Schwarz except on tracks 4 & 12 lyrics by Pete Feenstra


Zoë Schwarz – vocals
Rob Koral – guitars
Pete Whittaker – Hammond organ
Paul Robinson – drums & percussion

Recorded at Superfly Studios by Andy Banfield, Nottingham on 9th to 14th October 2017

Mixed by Wayne Proctor & Steve Wright at Y Dream Studios, Wales
Mastered by Jon Astley at Close To The Edge Mastering Design


Join the Blues Party with Zoe Schwarz Blue Commotion




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…

Angel Forrest Captures Live On Electric Live

Angel Forrest Captures Live On Electric Live

New album Electric Love and debut UK tour Angel Forrest will be getting attention as the blues diva shakes the stages across England and Scotland. For many Angel Forrest, will be a new name. That is so untrue with an award-winning career spanning three decades across her native Canada. Angel has sung at European festivals but now is the first opportunity to hear her distinctive voice and band in the UK.

The fifteen track album is a mix of originals and covers are given a healthy shake of Angel dust on this double-album of live recordings. The recording captures the heat and energy exuded by the band that is topped off with Angel’s vocals. The musicians on the album are superb, guitarists, Ricky Paquette & Denis Coulombe will be touring with her. Electric Love the rhythms are deep and full of blues from the bass of Alex McElcheran and Sly Coulombe behind the drum kit.

The album is a showcase of an artist that relishes being onstage. The energy fizzes with electricity, sparks of blue of every hue delivered with soulful passion. The album title Electric Love is perfect as Angel and her band exude the love for the songs, and music across the fifteen numbers that entertain from the first to the last note.

Many of the tracks selected are unsurprising from her current studio album Angel’s 11, no not eleven tracks but the eleven guitarists who are featured on the album. Angel builds friendships and this live album will build many more friends who are lovers of stinging blues.

Opening with All The Way, her vocals are gritty with edges smoothed out; the tones are a mix of velvet, tobacco and huskiness that cajoles and invokes the lyrics. No wonder there are three numbers that are renowned Janis Joplin numbers, Piece of My Heart, Turtle Blues and Kris Kristofferson number immortalized by Janis, Bobby McGee.

The sound that Angel produces live is captured in the title Spoil Me. She spoils the audiences with the depth and power of her voice, making the lyrics capture the emotion and soulfulness delivered to every member of the audience personally.  The first set is closed out with Move On, slow blues that curls around the speaker, you feel that you are sitting in the audience.  Her vocals are gentler almost spoke and as the huskiness grows the performance is both mesmerizing and moving in perfect harmony with Angel.

The second segment opens with Goodbye, with the hurricane force of intoxicating music power no one would have said goodbye yet! No wonder the audience is whistling with delight as the band starts to play again. Showing a romantic softer side the music is captivating sit back and enjoy the ride Angel will take you on.

Crucify stings as the guitar cries and Angel’s voice mourns and pours out the hurt; here her vocals are similar to the blues diva Sari Schorr with a helping of Joplin and the lyrical interpretation that is as throughout the album on originals and covers 100% Angel.

What a voice the texture and articulation is spell-binding. This is a voice you want to hear live. Closing out with a double hit of Mama/Whole Lotta Love. Fifteen minutes that absorbs you as Angel hits the highs as she captures the Zeppelin classic Whole Lotta Love. Robert Plant would be delighted with this version.

Electric Love is full of verve, energy and atmosphere everything a live album should have.

SEVENpawprint half inchdoodle paws out of TEN …

Track listing Disc 1

  1. All The Way
  2. Spoil Me Up
  3. Piece of My Heart
  4. Walkin’ Blues
  5. House of The Rising Sun
  6. Move On

Track listing Disc 2

  1. Goodbye
  2. Roll On Down
  3. Hold On Tight Mr I’m Alright
  4. Crucify
  5. Mother Tongues Blues
  6. How Do You Do
  7. Turtle Blues
  8. Bobby McGee
  9. Mamma/Whole Lotta Love


Tour Dates

15th March 2018 Corporation, Sheffield
18th March 2018 Academy 3, Manchester
22nd March 2018 The Fleece, Bristol
23rd March 2018 The Shack Aberdeen
24th March 2018 Think Tank, Newcastle
25th March 2018 Eleven, Stoke
28th March 2018 Half Moon Putney, London
29th March 2018 Voodoo Rooms, Edinburgh
30th March 2018 Oran Mor, Glasgow


Angel Forrest Captures Live On Electric Live -



Auld Mans Baccie are smokin on their live double album

Auld Mans Baccie are smokin’ on their live double album

First of all, I must declare a bit of a bias due to serendipity or simple coincidence. This band is from the North East of England, Seaham to be precise. I am from a small mining village in the North East; my wife is from Seaham and we used to do our courting (as it was known then) in the Dun Cow at Seaton Village near Seaham. This is the venue Auld Man’s Baccie call home and in my time, was the only place where mine host had a large book of cocktail recipes you could choose from and he’d make it there and then! Coincidence number two is that Auld (pronounced Owld) Mans Baccie was a favourite plant for us as kids. Not for smoking, as the leaves in times of hardship were, but as a source of pea shooters (don’t try this at home; we were lucky that it was the innocuous Achillea millefolium plant as it looks very similar to the deadly Hemlock Water Dropwort, Oenanthe crocata, which would have probably killed us!)  So, I already feel a close affiliation with this Blues/Americana/Roots/Gospel duo. Davey (the Reverend Curtis Humbucker) Curtis on vocals, guitar and stomp box, along with Nick (the Baptist) Phillips on slide guitar and vocals have previously released two albums of a mix of self-penned blues with a few carefully chosen covers. They now unleash a double live album; one, Nee Jiggery Pokery, consists of their own songs; the other, 100% Homage, is all covers and is free when purchasing the first. Recorded at the Times Inn, which if memory serves, is in Dalton-Le-Dale just outside Seaham and inevitably, the recording has all of the atmosphere of a close-up and personal pub gig. The added benefit is that the two boys share some social commentary and discuss their much-beloved wives (“Our Lass” means darling wife or love of my life if referring to a girlfriend). In fact, nearly all of their songs are laced with humour and oblique references to various things if you get my drift.

To the music… There are too many tracks to comment on each one, so only my personal highlights appear. Their own compositions sound like they are if this is possible, fresh out of the 1930s; with just the two guitars and voices, they could be performing on a porch with Son House, Lead Belly and the like looking on. The first, Old Black Dog, is about the love of a dog and his own potential love affair with Fi-fi the poodle. Humour coupled with a true deep blues feel make for a perfect opening. A slow march suiting the title of Dead Mans Shoes has glorious slide underlining the melody. Church of Lost Souls is a great lament with more slippery slide. It works very well as it is but this is a song that is ripe for an electric blues/rock treatment. Mr Bonamassa take note; it really would work.

The highlight of the covers album has to be the genius of Alex Harvey’s Framed. It takes on a true blues feel and works well acoustically in the capable hands of Curtis and Phillips while retaining the humour and observations of the original. Likewise, the Peter Green version of Doctor Brown and Canned Heat’s Let’s Work Together get the Baccie treatment and are a joy. They all work in their own way even though Bullfrog Blues is forever Gallagher in my mind and Whole Lotta Rosie takes AC/DC back to their roots although it is the least successful to me.

So as a live package, this works a treat. It is spoilt only by the between track editing. This nearly ruins the flow and deprives us of some of the banter. Still, if you want to lose yourself in the atmosphere an intimate pub gig with a couple of consummate musicians, then this is for you.

SEVENpawprint half inchdoodle paws out of TEN …

Nee Jiggery Pokery tracklisting:

  1. Old Black Dog*
  2. Fanny Mae*
  3. Dead Mans Shoes*
  4. Mamma Moonshine**
  5. Church of Lost Souls*
  6. Long Hard Road**
  7. Grant Me Salvation**
  8. Baccie Blues**
  9. Shaky Juice*
  10. Closing Time

** From their 2015 debut album, Resonating With The Blues

* From their second album The Church of Lost Souls


100% Homage tracklisting:

  1. Bullfrog Blues (written in 1928 by William Harris, covered by Rory Gallagher)
  2. Doctor Brown (written in 1959 by Buster Brown, covered by Fleetwood Mac
  3. Cigarettes and Whisky and Wild, Wild Women (written in 1947 by Tim Spencer, covered by Jim Croce)
  4. Roll Me Up And Smoke When I Die (credited to Willie Nelson, but disputed by Ashley Wilson)
  5. Ain’t Nobody’s Business (written in 1922 by Porter Grainger and Everett Robbins, covered by Taj Mahal)
  6. Whole Lotta Rosie (yes, that one!)
  7. Let’s Work Together (written in 1962 by Wilbert Harrison, covered by Canned Heat)
  8. In The Jailhouse Now (written in 1928 by Jimmie Rodgers, covered by Sonny James (and the Soggy Bottom Boys))
  9. Framed (written in 1972 by the Sensational Alex Harvey Band)
  10. Folsom Prison Blues (written in 1953 by Johnny Cash)

Auld Mans Baccie are smokin’ on their live double album

Joe Bonamassa Celebrating British Blues Explosion Recorded Live

Joe Bonamassa Celebrating British Blues Explosion Recorded Live

Two-Time Grammy Nominated artist Joe Bonamassa Celebrating British Blues Explosion Recorded Live available on CD/DVD/Blu-ray and coloured vinyl. Out 18th may, pre-order available via Mascot Label Group.

The album celebrating British Blues Explosion features songs written by legendary guitarists Eric Clapton, Jeff Beck, Jimmy Page and more. The DVD & Blue-ray will includes amazing bonus content such as Joe performing “Taxman” Live at the Cavern Club, Joe being honoured with a “Brick In The Wall”, the British Blues Explosion Explained by Mick Wall and a photo gallery of the British Blues Explosion UK Tour.

In 2016 for five shows Joe pays tribute to his British Blues heroes during a short but very sweet tour of Britain. This show was recorded at Greenwich Music Time at The Old Royal Naval College in Greenwich, London on July 7, 2016. Joe Bonamassa has been more influenced by the impact of British Blues than by any other music out there. From a young age, the musically inclined Joe fell in love with the hard-rocking, gritty and edgy sound that emanated from mid-1960’s Britain. This is especially true of the highly innovative and evocative guitar music produced by three of the field’s greatest heavyweights, Eric Clapton, Jeff Beck, and Jimmy Page. With the deepest reverence for what these three men have accomplished and a true love of their music. Joe Bonamassa’s love of the British Blues is at the heart of his musical inspiration; and, for the first time, with this unforgettable performance he was able to give special homage to the British guitarists that inspired him, including Eric Clapton, Jeff Beck and Jimmy Page. The five-piece band included Michael Rhodes (Bass), Reese Wynans (Keyboards), Anton Fig (Drums) and Russ Irwin (Rhythm Guitar & Backing Vocals). Joe passionately believes in the need for this and future generations of blues musicians to continue to explore the music of these three icons of blues history. “If it wasn’t for certain British musicians of the early 1960s, the Blues may very well never have exploded into Rock music as we know it today, and indeed may have passed into history,” says Joe.


We have shared some of the musicians involved but what was and when was the British Blues Explosion? The explosion occurred in the 1960s builds an essential bridge between the blues and rock music, two forms of popular music that have meant so much to so many people over the last century.

A Salute to the British Blues Explosion is a cross-generational musical moment that will be unlike anything else you’ve experienced. Go with Joe Bonamassa on a journey to re-discover the music of Eric Clapton, Jeff Beck, and Jimmy Page, and fall in love with the British Blues all over again. “…massive blues-rock grooves, soaring vocals and of course, that immense electric guitar experience.” – Guitarist Magazine


Bluesdoodles saw the show in Bristol “The re-interpretation of the Blues has travelled the reverse way across the Atlantic with Joe Bonamassa. Tonight, it took an American artist to remind many and acquaint others, on the full glories of the technicolour sound of the British Blues Invasion of the 1960’s.” – Joe Bonamassa Vintage Extravaganza Enthralls Colston Hall

Disc One
Beck’s Boero /Rice Pudding
Mainline Florida
Boogie With Stu
Let Me Love You Baby
Plynth (Water Down The Drain)
Spanish Boots
Double Crossing Time

Disc 2
Tea For One / I Can’t Quit You Baby
Little Girl
Black Winter / Django
How Many More Times

Joe Bonamassa Celebrating British Blues Explosion Recorded Live

Release Date 18th May 2018 Pre-order available Mascot Label Group
Available Formats – 2CD, 2DVD, Bluray, 3LP


Joe Bonamassa Celebrating British Blues Explosion Recorded Live

Read Bluesdoodles review of a magnificent night at Motorpoint Arena Cardiff as Joe Bonamassa opens his tour

13-Mar-18 AECC BHGE Arena Aberdeen United Kingdom
14-Mar-18 Sage Gateshead Gateshead United Kingdom
16-Mar-18 Genting Arena Birmingham United Kingdom
17-Mar-18 The Brighton Centre Brighton United Kingdom
20-Mar-18 Jahrhunderthalle Frankfurt Am Main Germany
21-Mar-18 Jahrhunderthalle Frankfurt Am Main Germany
22-Mar-18 Wiener Stadthalle / Halle F Bezirk-Rudolfsheim-Fünfhaus Austria
24-Mar-18 Dom Muzyki i Tańca Zabrze Poland
25-Mar-18 Stadthalle Chemnitz, Großer Saal Chemnitz Germany
28-Mar-18 LANXESS Arena Koln Germany
30-Mar-18 Tempodrom Berlin Germany
31-Mar-18 Tempodrom Berlin Germany
2-Apr-18 Sparkassen Arena Kiel Germany
10-Jun-18 Kursaal Oostende Ostende Belgium
12-Jun-18 Hampton Court London United Kingdom

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



Joe Bonamassa Playing on Dry Land In Cardiff

Joe Bonamassa Playing on Dry Land In Cardiff

Tonight, Joe Bonamassa opening his UK tour with a mix of jetlag and experiencing for the first time in 2018 playing on dry land. The Motorpoint Arena was ready and waiting and Joe B and his stupendous band delivered with fifteen deliciously tasty helpings of blues.

Joe Bonamassa did not seem jetlagged, he was pumped to deliver a night that will be etched on the musical antenna of everyone who had a seat tonight in Cardiff. Joe B was full of energy, confidence and the pure delight to be bringing his band to Cardiff once again. This was reflected in the inclusion early on in the set of new numbers which will be on the new album due out later this year.  Opening with King Bee Shakedown he hit the ground running with this rousing rockin’ and rolling number a real musical charge to make sure everyone one was sitting up in their seats revelling in the cascading riffs and licks from the Bonamassa guitar. His band around him were having fun from the horn section of the fabulous duo of Lee Thornberg and Paulie Cerra the renowned blues Saxophonist the dancing and tremendous backing duo from Australia Jade McRae & Juanita Tippins. Now into the mix and the compelling mix of drumming that is powerful and subtle, exquisite playing of the top hat as ever Anton Fig’s sticks and brushes ruled from the back. Adding to the rhythm and groove was bassist Michael Rhodes and magician on the keyboards Reese Wynans. The band that Joe surrounds himself with have been playing with him for years and tonight’s performance showed that this stability creates an innate understanding of the music and how to make Joe’s guitar and vocals buzz with vibrancy.

The set was a mix of something new, a lot of blue and something old. What had gone from the set-list and will be missed by many, despite the rising demand and popularity for gin, was that tonight Joe decided to drop Tim Curry’s Sloe Gin from the cabinet of songs.

The new tracks from the off led to some confusion as people thought I don’t know these, for me, it is always exciting to hear the music live before the studio version arrives. Just Cause You Can and Self-Inflicted Wounds are a pair of strong new Bonamassa numbers.

From his album Live at The Greek Theatre a tribute to the three Kings, his interpretations of Breaking Up Someone’s Home & I Get Evil had the crowds tapping their feet in time with the glorious blues, sharp exciting and entertaining.

The pair of numbers from Blues of Desperation worked well live. No Good Place For The Lonely with its confident driving beat and the change of the backdrop from red to deep blue and back to red added to the drama of the show. The number delivered in perfect harmony down to the matching Gibson Thunderbirds, guitar and bass creating a wonderful sound that reverberated around the arena. With a quick change of guitars How Deep This River Flows a number replete with delectable Bonamassa riffs and guitar fireworks. The long instrumental extravaganza once again making the show so much more than a guitar lead break. The keys danced through the melody and the horns a sting to the tail. Adding to the sparkling live rendition the horns and backing vocals filling out the sound in the arena.

Going back-in-time with Slow Train and Driving Towards the Daylight the arena was alive with pure musical joy. No longer could we sit as we wanted to Boogie with Stu along with Joe and his band. Closing with Led Zepplin’s How Many More Times reflecting his tour celebrating British Blues and forthcoming live album.

With the mix of instruments and the celebration of Joe B’s guitar playing that was gritty, harmonious and above all steeped in blues tones of every shade.  We wanted more, plenty of whoops, cheers and We Love You, Joe, bought the band back on stage for one final song for Cardiff tonight. Closing the night of fabulous live music with Hummingbird, a favourite number of Joe to play live and left the audience very satisfied as we stepped out of the arena with our heads full of riffs, and licks that Joe Bonamassa shared with us tonight courtesy of his dancing fingers over the six-strings.


Set List
King Bee Shakedown
Evil Mama
Just Cause You Can
Self-Inflicted Wounds
I Get Evil
No Good Place for the Lonely
How Deep This River Runs
Breaking Up Someone’s Home
Slow Train
Driving Towards the Daylight
Boogie With Stu
Last Kiss
How Many More Times



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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

The Divine and Dirty Kris Barras Band supply riffs aplenty

Devon born Kris Barras isn’t new to the blues-rock stage, having released his first album, Lucky 13, in 2015. This new release is a step up for Barras, however, as it is his first for the Provogue/Mascot Label Group and should see him deservedly gain a wider audience.
He is a man with an intriguing history; after all, not many blues guitarists list their former occupation as a Mixed Martial Artist who has fought in arenas across the globe. “People used to think I was crazy to be fighting in cages, risking damage to my hands,” he says. “Truth is though, I always enjoyed it and found that the fighting world offered me more opportunities than the music industry. I got to fight in front of 8000 people in Asia, I would’ve much rather have played to them instead of getting punched in the face.” No argument from me!
He reveals a broad range of influences that include Led Zeppelin, the Stones, Howlin’ Wolf and Free, but has developed these with a modern take which defies direct comparison. His new album, The Divine and Dirty, is more rock than blues, has country undertones and an 80’s metal, anthemic approach apparent in many of the tracks.

There’s an emphasis throughout on big riffs, ‘earworm’ hooks and a strong vocal with enough versatility to cover the different styles. The production could have been a little cleaner, as the very capable band do not always have the clarity or separation I would prefer. For example, the drums are sometimes very flat in the mix. I am a fan of all instruments and like to hear them as clearly as the main protagonist. There is also a fine group of backing singers whose identity I have been unable to find, so well done to you, and sorry for no credit.

The album opens with Kick Me Down. It has a Bonamassa feeling to the layered guitars; the subtle slide and keys bring a great atmosphere to the song. The a cappella opening of Hail Mary leads to a lovely picked/slide riff. The superb solo and female backing vocals add to the texture. I Don’t Owe Nobody Nothing is next. Apart from terrible grammar, this has a slow burn start and builds, via a tantalising riff, to another great sing-along section. It does get a little repetitive, however. Propane sounds like it was written to be a single and is weaker as a consequence, although the solo is inspired. Wrong Place, Wrong Time gets us back rocking with a Pat Travers sounding intro and develops into a great fast shuffle blues. The piano gives a nice colour to the verses before the solo, which blisters and then soothes in equal measure. Yet another great slide driven riff opens Lovers Or Losers. Barras shows his vocal capabilities best here, and then gives a lesson in fast, not widdly, soloing. She’s More Than Enough has a Southern Rock flavour with a pleasing piano solo punctuating the repetitive multi-tracked whoa-whoas. Stitch Me Up has brilliant echoes of a Faces type honky-tonk piano sound filled out with a great chorus and a fiery solo. Gospel-tinged ballad Hold On For Tomorrow is the first ‘quiet’ track. If Poison had released this as a follow up to Every Rose, it would have sold bucket loads. Blood On Your Hands has an opening riff, which sounds like Walter Trout playing lead for the Eagles and benefits from another strong vocal and a vibrant guitar solo. The closing track is the heavy blues of Watching Over Me. The lyrics suggest that this is a heartfelt song for his late father. Emotionally delivered both vocally and instrumentally; the ‘just enough notes’ solo is a delight.

Overall then, The Divine And Dirty is a very good album. He is an excellent guitarist and with so many hooks and bristling solos, the album has drive, intensity and passion. There is a minor downside. I can’t help but feel that this is what Bon Jovi could have become if they didn’t remake Slippery When Wet with every release. Having said that, it is still very much Barras’ album and has a definite identity behind it. I’d like to think his next album will see his personality shine through even more.


Kris Barras Band – The Divine and Dirty – Mascot Label Group

Out 23rd March 2018 – Available to Pre-Order Now

Available in the following Formats – CD, Vinyl and Digital Formats

SEVENpawprint half inchdoodle paws out of TEN …


1. Kick Me Down
2. Hail Mary
3. I Don’t Owe Nobody Nothing
4. Propane
5. Wrong Place, Wrong Time
6. Lovers or Losers
7. She’s More Than Enough
8. Stitch Me Up
9. Hold On For Tomorrow
10. Blood On Your Hands
11. Watching Over Me

The Band:
Vocals Guitar / Kris Barras
Keyboards / Josiah J Manning
Bass / Elliott Blackler
Drums / Will Beavis

The Divine and Dirty Kris Barras Band supply riffs aplenty

Tour Dates

23 March – The Wharf, Tavistock
24 March – The Palladium, Bideford
27 March – The Comrades Club, Caterham
28 March – Ypres Tavern, Sittingbourne
29 March – The Iron Road, Evesham
30 March – Yardbirds Club, Grimsby
31 March – Aatma, Manchester
04 April – The Bullingdon, Oxford
05 April – The Face Bar, Reading
06 April – The Warehouse, Harrogate
07 April – The Supporter’s Club, West Hartlepool
13 April – The Musician, Leicester
14 April – HRH Blues O2 Academy, Sheffield


The Divine and Dirty Kris Barras Band supply riffs aplenty