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

Creating Black Magic Jared James Nichols Guitar

Jared James Nichols Announces New Album Black Magic

U.S. guitarist, Jared James Nichols, has a new album Black Magic. It is the follow up to 2015’s impressive debut album Old Glory & The Wild Revival. Since that release, Jared has built up a solid reputation on the back of touring in support of his debut. With such luminaries as ZZ Top, Lynyrd Skynyrd, Zaak Wylde, Glenn Hughes, Walter Trout, Blue Oyster Cult, UFO and Saxon giving him a support slot, this gives a guide to the uninitiated as to where his music has its roots. Rock, Blues and a bit of Soul make up Jared’s sources of inspiration and he uses them to great effect on this new release.

Listening to this, and his debut reveals an instinctive approach to his playing. I cannot detect a plectrum in use anywhere. Picking styles (apart from the master, Jeff Beck) tend to be the reserve of acoustic players. Jared proves the exception and, even when playing slide, this style works very well indeed. The ‘power trio’ cliché will have to be deployed too. This three piece are tight, complimentary and accomplished. Vocally he is very strong too and has that rare quality of being able to sing while enunciating clearly.

Before we go any further, however, I do have one major complaint with this album… out of ten tracks, only two last longer than 3 minutes and none more than 4. It is too short Jared!

Opener Last Chance, starts with phased guitar and kicks into a storming riff. A solo of barred strings and hammering is a delight. The next song, The Gun, is a delta shuffle electrified. Subtle slide phrases expand the riff and it builds into a potential crowd-pleasing call/response section. A slide solo spoiled only by being too short (a repeating theme?!). Don’t Be Scared follows with a riff, which has echoes of Deep Purple’s Never Before. A talk box is deployed, but not overplayed. Honey Forgive Me brings funk into the equation. This could have been on the Stax label in 1970. Backed by the delightful vocals of Jessica Childress (apparently, she was a huge success on The Voice in America in 2013) she helps ensure that a soulful feel is to the fore. A bit of Southern-tinged rock comes into play on Home. Slide guitar warms the opening and reminds me so much of the Allman Brothers in its structure and execution. A Chicago style electric blues shuffle opens Got To Have You. This is such a good track in every way…apart from being too short. Makes a lie out of the assumption that blues should be sad; this is a rocking, blues love song with bite. Yet another glorious solo of picked perfection. End Of Time is out and rock with a blues tinge. Reminiscent of Pat Travers in many ways, it is another short and sweet song. Simple can be good, and Run is notable for gaps in the chord progressions. Inevitably, this style brings Free and Kossoff to mind, and the solo is similarly expressive without forcing too many notes into it. Back to 70s rock with Keep Your Light On Mama. Structured like a  Mountain song in the Mississippi Queen era, this has acres of power.  A power trio will always make Cream spring to mind; particularly on the final song, What Love. A Badge like bass intro opens into an echoey slide and vocal. Again, Jared shows he understands that less can be more and doesn’t try to overload every song with a guitar ‘attack’. The picked slide solo here is just sublime and makes this my favourite of a great bunch. Although have I said this before? It is far too short!

This is a great album for blues, rock and blues/rock enthusiasts and should cement Jared’s reputation as a guitarist of rare skills. So, if you want long widdly solos do not buy this. If, on the other hand, you want high-quality guitar playing with crafted, unflashy yet excellent solos, then buy this…you will not be disappointed. Praise too for Holm and Sandin for such solid and empathetic backing. The production by Perry ensures that we can appreciate their playing throughout. I only wish other producers would consider this before they bury sounds in electronic wizardry. (Are you listening Mr Ezrin?)

EIGHTpawprint half inchdoodle paws out of TEN …

Track Listing:

      1. Last Chance
      2. The Gun
      3. Don’t Be Scared
      4. Honey Forgive Me
      5. Home
      6. Got To Have You
      7. End Of Time
      8. Keep Your Light on Mama
      9. What Love

The Band:
Jared James Nichols (guitar, vocals), Dennis Holm (drums), and Erik Sandin (bass, vocals), Jessica Childress (backing vocals)

Recorded at the Boneyard, Boston and Johnny Depp’s home studio.
Produced by Tony Perry and Jared James Nichols.

Creating Black Magic Jared James Nichols Guitar

Cameo of Rainbreakers Live Performance Jaks Skegness 2018

Cameo of Rainbreakers Live Performance Jaks Skegness 2018

Cameo of Rainbreakers Live Performance Jaks Skegness 2018. Rainbreakers are back to set Skegness alight once again. This year they headline Saturday in Jaks; the stage organised by Blues Matters. The venue that is dark, moody hot had the venue that has seen amazing nights we all still talk about the night Larry Miller set Jaks ablaze with his music. The anticipation was high amongst the many who have heard The Rainbreakers play live before. Into the mix and those who just came to see what the fuss was about or party and drink into Sunday morning.

Cameo of Rainbreakers Live Performance Jaks Skegness 2018The band was on fire full of energy as the band from Shrewsbury blended the music to create a music fuelled party atmosphere. Having spoken to members of the audience many just popped in for five minutes and now determined to stay to the end. This was no surprise to me as having been captivated by the sound since I first heard and reviewed in 2015 Blood Not Brass. 

What is Rainbreakers sound? What makes then stand-out on a crowded circuit? They have stretched the blues from the Mississippi Delta, up to Chicago across to the sun-drenched West Coast and sound drenched in the seventies full of soul. Musicians ready to conquer the here and now.  A quartet mix power with subtlety. A rhythm section drummer Sam Edwards and bassist Peter Adams lay down the scaffolding of their brand of Blues-rock. Guitar work from Charlie Richards bending the notes as vocals are delivered by Ben Edwards. The unit is tight and the live sound electric.

Cameo of Rainbreakers Live Performance Jaks Skegness 2018Tonight in Jaks they came set-up and allowed their music to conquer. That is exactly what they did. Saturday in Jaks was a happy place to be as they played music that made you get up and dance, smile and be happy with tracks from the second EP; Rise Up. This is what Jaks as we all rose up as one and enjoyed the moments they played a storming set, to be remembered long after Jaks falls silent. The Rainbreakers were the last Saturday night headliners to play the small stage in Jaks.

Cameo of Rainbreakers Live Performance Jaks Skegness 2018

Bluesdoodles Reviews:

2015 E.P. – Blood Not Brass

2017 E.P. – Rise UP

In Conversation about 2017 UKBlues Challenge


Now on tour supporting, Wille and The Bandits, do not miss any opportunity to see this young band play live as we await the anticipated full-length studio album from The Rainbreakers




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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

Cameo of Rob Tognoni live Performance Centre Stage Skegness 2018

Cameo of Rob Tognoni live Performance Centre Stage Skegness 2018Cameo of Rob Tognoni live Performance Centre Stage Skegness 2018

Marmite of the blues from Tasmania via Germany Rob Tognoni gave the devils music a rocking workout across the Centre Stage. On Centre Stage heard and loved the range of blues of every hue across the weekend.

Joining Rob Tognoni on stage for the ultimate power trio a rhythm section that allows his trusty guitar to deliver.  A sound full of energy and tonal magic. The guitar may be travel-worn, battered and bruised the sound is addictive as he pulls you into the party-time rock n’ roll sound via influences from Rory Gallagher woven deep into the sound.  Rob, is no clone of Rory other influence pulled from playing Blues-rock live, loud and with vigour caught by your ear as a fleeting moment a soupçon of Hendrix, and curl of AC/DC and a huge dollop of his own effervescent style. Today has he hit the stage he was on sparkling good form in his shirt red, shiny and bright reflecting is wild personality.

His guitar is like a third limb connected with an invisible chord that electrifies his whole performance. He is the ultimate show-off with a set that delights and Dark Angel blow you away, allowing the trio of Rob, Mike Hellier drumming and bassist Gaz Rackman interact with each other with an explosive sound on a Sunday afternoon in Skegness.

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Read overview of the Great Rock and Blues Weekend over at Bluesdoodles


Cameo of Rob Tognoni live Performance Centre Stage Skegness 2018


Unmissable King King Touring from April to June 2018

Unmissable King King Touring from April to June 2018

King King (L-R) Jonny Dyke (keyboard), Alan Nimmo (vocals & guitar),
Lindsay Coulson (bass), Wayne Proctor (drums)

Photo Credit: © Rob Blackham

Unmissable King King Touring from April to June 2018

Hot on the heels of King King’s January 2018 UK tour – including their biggest London show at the Shepherd’s Bush Empire to date – Britain’s No. 1 rock blues band announce their April – June 2018 UK Tour including shows at HRH Blues in Sheffield and the Rock & Blues Festival in Newport.

Unmissable King King Touring from April to June 2018King King released their fourth studio album “Exile & Grace” in October 2017 via Manhaton Records. The album features the band’s singles (She Don’t) Gimme No Lovin’ and Long Time Running which have been big hits on Planet Rock radio in the UK.

Bluesdoodles said, ” The music has the solidity of granite rock and definitely a new cadence to the vocals from our kilt-wearing Alan Nimmo.” Read the rest Exile & Grace Review

With Four nominations for 2018 inaugural FORM, UKBlues Awards 2018 Exile & Grace is following in the footsteps of 2015’s  multi-award winning “Reaching For The Light.”  King King nominated Categories are:- Male Blues Vocalist – Blues Band of The Year – Blues Alum of The Year – Blues Song Writer of The Year.

Unmissable King King Touring from April to June 2018


Worcester, Huntingdon Hall  Saturday 14 April – Book Online

Sheffield, HRH Festival   Sunday 15 April – Book Online

Aberdeen, The Lemon Tree   Friday 20 April – Book Online

Darvel, Town Hall   Saturday 21 April – Book Online

*Hastings, St. Mary in The Castle  Thursday 3 May – Book Online

*Pontypridd, Muni Arts Centre  Friday 4 May – Book Online

*Southampton, The 1865   Saturday 5 May – Book Online

*Liverpool, Epstein Theatre   Thursday 10 May – Book Online

Whitley Bay, Playhouse  Friday 11 May – Book Online

Clitheroe, The Grand   Saturday 12 May – Book Online

*Chester, The Live Rooms   Thursday 17 May – Book Online

*Leeds, Brudenell Social Club   Friday 18 May – Book Online

*Holmfirth, The Picturedome  Saturday 19 May – Book Online

*Frome, Cheese & Grain  Saturday 26 May – Book Online

*Exeter, The Phoenix Arts Centre   Sunday 27 May – Book Online

*Bilston, Robin 2    Thursday 31 May – Book Online

*Bury St. Edmunds, The Apex   Friday 1 June – Book Online

*Newport, Rock 7 Blues Festival  Saturday 2 June – Book Online




Unmissable King King Touring from April to June 2018

Laurence Jones speaks the truth, the whole truth and nothing but the truth

Laurence Jones speaks the truth, the whole truth and nothing but the truthLaurence Jones speaks the truth, the whole truth and nothing but the truth.

4 albums in, what do you do next? You look for something new and fresh, dig deep into your heart and see what comes out, to see what other sides there are to you. This is what Laurence Jones has done with his new album “The Truth”. Laurence continues to make a name for himself on the blues-rock circuit in the UK and Europe and his new album with its commercial feel but rocky edge will no doubt win him new fans further afield. Laurence took a few moments out from rehearsals and over a drink at an after-show party to chat as we were seeking honest answers…


“The Truth” is a few steps down a different path than your previous albums in its sound and arrangements…

Well, and between us, I want to be the next Justin Bieber, he’s my hero! Hahaha! But seriously, it is a crossover album for me in terms of the writing and production for sure. You know, all of my real heroes like John Mayer and Eric Clapton have stepped into different territory before and not just relied upon the guitar playing so I guess it’s my turn to do that. I don’t want to churn out the same album time after time as nobody wants to hear that and I’d get bored. I like challenges and I like to challenge myself which is what I’ve done with “The Truth”. Before we go any further, assure your readers that this album was all made with real instruments and real players!

You had me worried for a moment there thinking this isn’t the Laurence Jones I know…

There’s different sides to all of us and I wanted to show a different side of me with this album. I really focused on the songwriting, lyrics and melodic content. I’ve really been building up to making a record like this is taking the guitar side of things and mixing it with something that’s modern but true to itself. We talked about guitar playing when we were at the Black Country Communion after show party at Hammersmith (man what a gig eh!) and I’ve really pushed myself in the guitar solos to make them memorable, like a song in a song. Take the solo in “Hotel California”, that’s crazy long but you can sing it and it tells a story in itself. I hope that mine on this album do that for anyone who listens to it.

We’re talking about putting yourself out there and opening up here…

Absolutely. I can only write about things I know, not what’s up in the sky that I don’t know about. The songs really do the talking on this album and they’ve been finely picked from a whole bunch of demos. It was a dream to have a few weeks of pre-production in Curacao which is a Dutch island in the Caribbean, before heading to Miami to record at the old Sony Studios. Such a cool place man. The legendary Gregory Elias has produced this album and he brought so much to the table but still allowed me the freedom to go my own way. You know, Gregory is the man who brought The Rolling Stones to Cuba and put on a free gig for everyone, how cool is that! That just shows what a nice guy he is and inspirational. If you take songs such as “Hold Me Close”, “The Truth” and “Take Me” my heart’s on my sleeve right there, for better or for worse and I want the listener to feel that. Sure, there’s some rockier moments in “Give Me Your Time” and “Gone Away” but the emotional content is there in all of the songs. It was all about writing catchy songs with guitar solos and I keep up to date with all music out there, it’d be great to hear more guitar in the charts and these songs are more of a commercial feel than my rockier stuff so you never know!


What can we expect from your live shows this time around with this fresh take on your writing?

20-minute guitar solos! Hahaha!, not really. There will be some moments where we’ll be jamming out on a few songs, extending the solo’s a bit, in fact, I’m at rehearsals now and we’ve been working the set-out. I’ve got a really cool new band in Bennet Holland on keys, Phil Wilson on drums and Greg Smith on bass. We were playing in Holland before and everything just went super well. The crowds were great, singing along and getting right into it. It’s sounding really slick, the new songs are transferring well to a live setup and we’re psyched to be taking them out on the road. I love playing live and it’s great to connect with the audience and bring something to their day – you never know what’s going on with people and them coming out to your gig may be something they really need in that moment so we’ll be giving everything, every night of the tour. We’ve got a show January 23 at The Borderline in London, love that venue, and the UK tour really begins on May 3 in Manchester at Band On The Wall.


What do you think of the current scene in the UK and any advice for those younger than yourself as you had some great success at an early age?

When I first started all this, there was really only myself, Joanne Shaw Taylor and Simon McBride out doing what we do. That was cool, but it’s a lot cooler that there’s more and more bands and artists on the blues-rock scene in the UK now. I never view it as competition and it’s great to see people out playing, the new festivals that have come about as that shows there’s a demand for the music we play and love. As for those starting out, just don’t be afraid to try things. Don’t copy, take influences and mix them up and try and put your own stamp on things.


If you could pick any album to have written and made yourself, what would it be?

Oh, that’s tricky. C’mon man, can I have two? Yes? Ah great…it’d have to be “Riding With The Kings” of Eric Clapton and BB King, such a great record and has that crossover feel to it like my new album and Jimi Hendrix’s “Are You Experienced”, just because I’d love to know what was going on in his mind when he was writing it!


New Album New style The Truth still Laurence Jones


Laurence Jones new album “The Truth” is due for release Friday, March 9th 2018. Tour dates and ticket links can be found below and pre-order “The Truth” 

Just a Click away

Line-up touring The Truth Tour 2018:-

Laurence Jones (Vocals, Guitar)
Bennett Holland (Keyboards, Backing Vocals)
Phil Wilson (Drums, Percussion)
Greg Smith (Bass Guitar)

Planet Rock presents
All Tickets: £15.00

London, Borderline – Tuesday 23 January

Book Online: Gig Cartel; See Tickets
24 HR Box Office: 0844 478 0898
Ticket Hotline: 0844 847 1678

Manchester, Band on the Wall – Thursday 3 May

Book Online:  GigCartel; Ticketline
24 HR Box Office: 0844 478 0898
Venue Tel: 0161 834 1786

Leamington Spa, Zephyr Lounge – Friday 4 May

24 HR Box Office: 0844 478 0898 – Venue Tel: 01926 311 311
Book Online: Gig Cartel or Eventbrite

Southampton Talking Heads – Saturday 5 May

Book Online: Gig Cartel  – Venue Tel: 02380 361 970

Birmingham, Hare & Hounds – Thursday 10 May

Book Online: Gig Cartel 24 HR Box Office: 0844 478 0898
Venue Tel: 0121 444 2081

Nottingham, The Bodega – Friday 11 May

Book Online: Gig Cartel or Alttickets

24 HR Box Office: 0844 478 0898 – Venue Box Office: 0115 896 4456

York, Fulford Arms – Saturday 12 May

Book Online: Gig Cartel 24 HR Box Office: 0844 478 0898
Venue Tel: 01904 620 410

Newcastle, The Cluny – Sunday 13 May

Book Online: Gig Cartel or See Tickets

24 HR Box Office: 0844 478 0898 – Venue Tel: 0191 230 4474


Laurence Jones has built his reputation in the studio and playing live check out his discography 

Albums in BOLD checkout Bluesdoodles review.


The Truth (2018)
Take Me High(2016)
What’s It Gonna Be (2015)
Temptation (2014)
Blues Caravan (2014)
Thunder In The Sky (2012)

Laurence Jones speaks the truth, the whole truth and nothing but the truth


Debut Album A Rebel’s Story By Big Wolf Band

Debut Album A Rebel’s Story By Big Wolf Band

Debut Album A Rebel’s Story By Big Wolf Band


Debut Album A Rebel’s Story By Big Wolf Band. Out of Birmingham, the band have a big blues sound as Honky Tonk piano rocks out with deep vocals a swing guitar. The Blues Rock sound is strong as the quartet not from Birmingham Alabama but Birmingham West Midlands share over thirteen tracks blues that are spiced with rock.

The album has is easy on the blues ear and captivating with its controlled energy. A Rebel’s Story is an album that grows with every listen as you become acquainted with Big Wolf Band on their debut album. The quartet are guitarist & vocalist, Jonathan Earp, bassist Mick Jeynes, Drummer Tim Jones and on the keys Paul Bambani.  The foursome opens the album with Heaven’s Got The Blues. That may be true, the absolute truth is Big Wolf Band definitely have.  The sound has a distinctive mix as the keys lead into a huge guitar riff, laying down the scene for an album that will surprise as the hues of the blues are explored with a mix of the traditional that has been re-shaped but never loses its musical form into a contemporary sound. The foot-tapping rock’n’ roll is fused with a shuffle in Done Wrong By You. Earp’ s guitar work is fresh with the cadences that take you back deep into the seventies with more than a tipping of a hat to Gary Moore.

The tone changes with the Honky Tonk Piano leading the pack as we get to know Long Time Mary, Earp’s vocals pierce through the melody set down and links seamlessly in with the percussive drumming.  The vocals are intense but never overpower as they rest and the lead break is taken up by Bambani’s fingers caressing the keys. Intoxicating blues.

A debut album full of blues shades and hidden depths, never overproduced the warm live slightly dangerous sound is captured in the studio. You can expect a full-on live performance on the strength of A Rebel’s Story, Big Wolf Band’s debut album. The album never shocks but as A Rebel’s Story unfurl you are never left disappointed.

The title track in the middle of the album has a harder rockier edge. The title has a raw energy contained within the control of musicians in the studio. Live, it is easy to imagine the track stretched out with lead breaks that up the pace and leave you breathless as a rebel hound.

A quartet of songs with love in the title brings this stylish and enjoyable album to its close.  I Don’t Love You opens with a classic blues beat fast with an urgency and the vocals have an ear-pleasing tonal quality. You know exactly what is meant in a song about love ending it. There is no future for this love story. What is clear Big wolf Band have a future delivering blues that give a contemporary edge to the blues. They may not be shaking any Willow Tree or delivering the unexpected what they are delivering is blues with ear appeal.

EIGHTpawprint half inchdoodle paws out of TEN …


  1. Heaven’s Got The Blues
  2. Done Wrong By You
  3. Hot Blooded Woman
  4. Darkest Of My Days
  5. Long Time Mary
  6. Rolling With Thunder
  7. One More Time
  8. A Rebel’s Story
  9. Been Here Too Long
  10. Love That Hurts
  11. I Don’t Love
  12. Love Isn’t Free
  13. If I Ever Loved Another Woman



Pariah Brothers Never Exile Crow Black Chicken Music

Pariah Brothers Never Exile Crow Black Chicken Music on the latest album from the band that hails from the deepest South with their own distinctive blues-rock. The music feels homegrown deep southern America. Yes, the sound is true but the trio hail from the Deep South of Ireland.  Crow Black Chicken are a blues powerhouse live as the Clonmel based trio whirl the audience into a perfect maelstrom of excitement with their energized blues rock show. Christy O’Hanlon, the consummate entertainer with witty tales, stories to make the hair curl combined with his gravelled infused vocals and guitar leads the boys into music that cajoles and hits you straight in your music radar fair and square with a bullseye. Joining him providing deep, dark fulsome rhythms are Gev Barrett drumming and providing backing vocals and high-octane fueled riffs, the showman on bass Steven McGrath.  Will this sound be contained, dampened in the controlled atmosphere of the recording studio? The answer is an emphatic NO!  From the opening track, Jonestown through to the title track closing the album out you are captured in the mesmeric musical web of Crow Black Chicken.


The band weave their magic, they have thrown down the black chicken bones and weaving a dark alchemy of blues-infused rock, traditional yet absolutely contemporary. The opening track sets down a marker full of dark heavy blues and lyrics that take you to darkest Guyana, cults and mass suicide.  Followed by a groove-laden bass opening as the slide guitar wails and picks up the groove, we experience Justice Crow Black Chicken style. What a hefty start to the album can this momentum continue? No, we couldn’t take the pace.  Everyone has a semi-respite from intensity as we step up South Roman Street, the music curls around the greasy full licks from guitar and bass. The melodic laid-back approach captured in The Prophet now we have gained our breath the album builds and fires on all four cylinders once again. Exploring Deer Meat Unloaded a tale from a Spanish tour, writing songs from experiences on the road allows the guitar to whine and the bass to lay down the melody with attitude and cowbell is always a useful addition.

The beat is picking up as the album turns for home looking for the Pariah Brothers. A tribute to fellow Irishman Pat McManus, picks up the McManus groove. The guitar wails and squeals under Christy’s hand as his vocals unveil another tale gruff and full of emotional intent. Closing the album with the title track Pariah Brothers, Steven’s bass is deep dark and considered as he opens the number joined by a sharp bright guitar sound from Christy. The two sounds contradict but work perfectly well together as Brothers who are outsiders are introduced. Closing the album you are left with a greasy musical taste and the feeling that this is bluesy with rocking intent a band that will jam and change a song when played live. The songs may have been recorded in a studio but you know live they will retain the energy and intent and evolve as the band interact with the audience.  Across the dozen tracks Crow Black Chicken is definitely never curtailed by the studio walls as their brand of Southern bluesy rock is delivered. Pariah Brothers Never Exile Crow Black Chicken Music, Why? It will be often on the turntable, or whatever device you decide to use to get your Crow Black Chicken fix of the day.


Pariah Brothers – Crow Black Chicken

NINEpawprint half inchdoodle paws out of TEN …

Track Listing

  1. Jonestown
  2. Justice
  3. Bleedin
  4. Calib
  5. South Roman Street
  6. The Prophet
  7. Panta Rhei
  8. Deer Meat Unloaded
  9. Ripples In The Sand
  10. Freedom
  11. Pat McManus
  12. Pariah Brothers

Check out the review of Crow Black Chicken Live in Bristol – HERE


Pariah Brothers Never Exile Crow Black Chicken Music

Simon McBride Triumphantly Ends this Tour at The Tunnels

Simon McBride Triumphantly Ends this Tour at The Tunnels

Simon McBride Triumphantly Ends this Tour at The Tunnels

Monday night in November heats up in Bristol as Simon McBride triumphantly ends this tour at The Tunnels. With the week full of quality live music, combined with a Monday night the turnout was respectable. That does not disguise the fact when a guitarist of this quality comes to town with his band it should be a sell-out every time, whatever the night whatever the weather. If you love guitar driven blues fused rock then and you haven’t seen Simon McBride you have missed a musician at the top of his game. He demonstrated this tonight with every chord, note, lick and riff as the music filled the venue. With Marty McCloskey behind the drums and bassist Dave Marks to kick up the fireworks, this is a trio that has power, attitude and control shaping the tempo and textures to create a wall of sound full of depth and interest.

Simon McBride Triumphantly Ends this Tour at The Tunnels Tonight, The Tunnels reverberated with stunning blues- rock that captured the classics, Simon’s back catalogue and a glimpse of the new on the long and patiently awaited next album. Tentatively promised tonight as next year-end of 2018 it will be a Christmas Album Simon quipped. As would often happen the rhythm section picked up the words as they played jingle bells with the band laughing. Last night of a six-month tour there was a mix of end-of-term party and the delight of playing live music to an appreciative audience.

The covers were special including Free’s, The Stealer with a great key change halfway through and wonderfully controlled powerful lead breaks. This was a foot-tapping joy. His version of Hendrix’s Little Wing was sublime the re-working made you listen to this oft-heard and covered classic. The timing was immense and when combined with the super tone of his signature PRS Guitar was sublime.

Simon McBride Triumphantly Ends this Tour at The Tunnels The new music was punchy with the formidable tone and guitar textures with strings bent and the vocals pulling the song along.  Change gave the rhythm section the opportunity to come to the fore with a bass display from Dave Marks that was full of rhythmic punch. As the bass was slapped, the bass guitar now dominated as we heard jazz, rock and blues melded in a reprise of delight. Then we had the duel between guitar and bass the energy flowed from the stage across the venue. Live music quality and fun.  A definite keeper and as the audience was quick to tell Simon a single from the next album, Show Me How To Love. What a cracking number live full of emotional integrity and up-lifting playing from all three musicians.

Every number played was special, go hear Simon McBride play live when he is next in town. The other numbers that stood out were So Much Love, with glimpses of Prog and more in this brilliant instrumental interlude. The real highlight of the night for many including myself was So Much Love and One More Try. These display the virtuosity of McBride’s guitar mastery. Don’t Be  A fool was a rousing finale with audience participation. This was party-time and fun with the band losing control of the audience as we repeated the lines to the beat of Marty’s drum.

Tonight Simon McBride conquered The Tunnels with the power of live music.


Simon McBride Triumphantly Ends this Tour at The Tunnels