Weds 24 May – Voodoo Rooms, Edinburgh UK TICKETS Thurs 25 May – The Ferry, Glasgow UKTICKETS Fri 26 May – Arlington Arts, Newbury UK TICKETS Sat 27 May – Worthing Pier South Pavillion, Worthing UK TICKETS Sun 28 May – Mr Kyps, Bournemouth UK TICKETS Mon 29 May – Sage, Gateshead UK – Weds 31 May – Robin 2, Wolverhampton UK TICKETS Fri 2 Jun – Nell’s Jazz & Blues, London UK w/special guest Gary Hoey TICKETS Sat 3 Jun – Grolsch Festival – Shoppingen, GERMANY – TICKETS Weds 7 Jun – Tonelades – Valencia, SPAIN – TICKETS Fri 9 Jun – Leganes Blues Festival South Side – Leganes, SPAIN – TICKETS Sun 30 Jul – Ramblin’ Man Fair UK w/ Supersonic Blues Machine TICKETS
Bluesdoodles reviewedMiddle Of The Road – No doubting that Eric Gales is back producing the best music yet. Blues guitar with attitude, lyrics with a heartfelt understanding of the myriad emotions this album lays bare for the listener to explore and understand ….. Read the rest HERE
“One of the best, if not the best guitar player in the world” Joe Bonamassa “He is absolutely incredible” Carlos Santana “How Eric Gales isn’t the hugest name in rock guitar is a total mystery”Dave Navarro “This guy could be the best player on Earth” Mark Tremonti “Sounds like ZZ Top covering Stevie Wonder…If you’re looking for the blues album of 2017. This is going to be very hard to beat” Total Guitar 5/5 “The injection of danger and unpredictability that the blues-rock scene desperately needs…some of his best songs yet” Guitar & Bass 8/10 “The more you listen to it the more the brilliance of Eric Gales becomes apparent” Powerplay
Making Wednesday Rock at
The Marble Factory
Wednesday night, midweek low, no one informed the loud, enthusiastic Bristol crowd out to party and have fun with live music. Before the main event the stage and Marble Factory was filled with the German duo of The Picturebooks, Fynn Claus Grabke (Vocals, Guitar) and drummer Philipp Mirtschink. Alternative, primaeval with intense drumming and the acoustic guitar amplified. The rock is hard and heavy and the blues deep with very dark rhythms conjuring the dark history behind the blues. This is music that growls with the heartbeat of the drum booming through the venue. Returning to Bristol unsurprising the set was heavy with tracks from their new album Home is Heartache. The duo creating unique textures and tones that are mesmerising drawing you deep into the tribal grind of a combination for dirty acoustic layered with slide and the drumming that is hard and loud from a drum kit with not a cymbal in sight just a ships bell. The rhythms punch with heavyweight intensity on I Need That Oooh with its infectious chorus. With a metallic grandeur, Cactus filled the venue. The set was intense for everyone with Fynn & Philipp drenched in sweat, they really put themselves deep into the rhythmic groove they create and the audience is hot and excited the venue is now definitely ready for a Monster Truck fest.
Once The Picturebooks’, kit was removed from the stage, friends had time to catch up and then Canadian quartet Monster Truck took to The Marble Factory stage to a roar of delight. Vocalist Jon Harvey, centre-stage with his trademark toolbox to rest his foot on, with no monitor posturing he lets the classic rock do the talking. Completing the Monster Truck sound, fun loving hard rocking good-time music are guitarist, Jeremy Wilderman, on keys Brandon Bliss and drummer Steve Kiely. The set was heavy with tracks from the current album Sittin’ Heavy and the earlier Furiosity what a combination, a guarantee for a fun, energising rip-roaring Wednesday.
Opening the proceedings with Why Are You Not Rocking, the reality was the opposite we were ecstatic in the presence of great rock that had everyone jumping, cheering and empowered by music that hit home deep in your musical soul. Classic rock given a modern twist doesn’t get better than this. This is rock that is uncomplicated and honest delivered by a band whose stage presences is warm and the playing is tight and as Monster Truck are having fun playing it would just be stupid not to join in the party they are having on stage. The set rolled on with favourite following favourite the truck was rolling with charismatic power that was controlled, wild and infectious re-energizing as you connected to the music, hands in the air singing along to the words. With The Enforcer full of steely determination recorded it is superb live it reaches another energy level as the iron fist of the track the chorus line pulls the whole audience we want to be enforced by Monster Truck. One of many highlights on the night was She’s A Witch, as Jon Harvey sung, ‘that girls got a demon in her soul’ we all had the demon that is Monster Truck rock in our souls tonight.
The rock was rolling, the audience sang loud and full of pleasure as Sweet Mountain River, we all wanted to be in the city with the truckers tonight. It may be work on Thursday, but time and reality stood still tonight we all wanted them to play on and on through the night. The sheer quality of the set totally blew me away. No wonder tonight Bristol redefined Wednesdays as the new awesome live music night at the Marble Factory. Once again, words cannot do justice to the musicianship and power of live music, get out and see them for yourself you will not regret listening to the classic rock that is Monster Rock, riffing good fun with a tinge of blue.
With an encore of three wonderful numbers closing the proceedings with The Lion. The lion of rock definitely roared tonight thanks to Monster Truck. Come back soon. Monster Truck Making Wednesday Rock at The Marble Factory
Times Have Changed
Blues remain for Ronnie Baker Brooks
The album title reflects so much more that the ten years that has gone by since the last Ronnie Baker Brooks recording. No-one can argue with the statement Times Have Changed the world is a fast-moving cauldron of change and uncertainty. Having listened the one certainty is Ronnie Baker Brooks blues is class.
Opening with Show Me that is full of soul that sets the juices going featuring Steve Cropper, and booming bass saxophone a promising start but without a feeling of urgency I want to hear more. The album has five self-penned tracks and a mix of covers. The Memphis shimmer is heard on the instrumental Twine Time, with Lonnie Brooks adding guitar with many of the same musicians and mics this is Stax Records sound captured for the here and now. It fizzes retro looking back trying to recapture when as the title says things have changed.
The title track does just that building up to a surprising inclusion of music of now. Opening with a traditional feel cool guitar with stinging licks, it encompasses Blues where the guitar loops around the lyrics with a percussive pull that allows the guitar to soar higher and higher. Then we have the difference rap! Courtesy of Al Kapone as not just the neighbourhood has changed, music has changed. What hasn’t changed is the working class blues of the chasm between rich and poor and the despair that being at the wrong end brings. The hip-hop beat adds another contemporary dimension, a part of another link in the chain of music that yearns change. Out of Memphis has the pull of history and the roots of the blues is strong. The title track is strong and the lynch-pin that holds the album together. As you re-listen again.
A funky soulful retro mood is shaped and moulded with Give Me Your Love (Love Song), Angie Stones voice is full of sultry warmth that pulls in the vocals from Brooks that are delivered with an almost hushed reverence over the horns. This Curtis Mayfield classic was the first song recorded and has a fluidity that sometimes the album as a whole on first listening lacks. For, me a tempo change after eight minutes would have added a flinty spark but now we have another slice of funk on Give The Baby Anything The Baby Wants. Then the inclusion of Old Love, his Mother’s favourite song. We have a change of tempo with a feet tapping, horn churning number Wham Bam Thank You Sam. His vocals have a Robert Cray feel. The chorus is catchy full of energy as the album closes out with When I Was We. Another demonstration of Ronnie Baker Brooks vocals that cajoles and never plays second string to his guitar.
Times Have Changed, is an album that digs deep into the Memphis tradition produced by Steve Jordan, recorded at the Royal Studios with an ‘A’ listers roll call of musicians this album was always going to be class.
Like time, the album is slow to mature and takes a few spins before the facets really glint and shine. This is blues with layers of soulful funkiness delivered with style. The standout let’s do something different moment is definitely the title track showing how blues can be stretched and reformed to capture the music of now without losing its basic integrity.
QuinnSullivan has been a music professional for more than 75 percent of his life. He’s shared the stage with Buddy Guy, Eric Clapton, Los Lobos, The Roots, Derek Trucks, Susan Tedeschi and Joe Bonamassa, and he opened for B.B. King, who later invited him to play his treasured “Lucille” guitar. He has performed on concert and festival dates throughout the United States – including at storied venues like Hollywood Bowl, RFK Stadium and Madison Square Garden – travelled overseas – performing at both the Montreux Jazz Festival and India’s Mahindra Blues Festival – and played several editions of the Experience Hendrix Tour, backed by Jimi’s original bassist Billy Cox. He’s also appeared on national TV, with guest appearances on The Tonight Show with Jay Leno, Oprah, Late Night with Jimmy Fallon, Conan O’Brien and twice on The Ellen DeGeneres show.Yes, Sullivan has packed some extraordinary experience into his decade-long career, and that’s even more remarkable when you consider that he’s only 17. His third studio album, Midnight Highway, was produced by multi GRAMMY® winner Tom Hambridge – who also does double duty as Quinn’s studio and road drummer – and will be released on January 27th in North America, and on March 24th in the rest of the world. The album is yet another milestone in Quinn‘s extraordinary journey, which began with him jamming with the kids music combo Toe Jam Puppet Band at age three, appearing on Ellen when he was six, and being taken under the wing of blues legend Buddy Guy at age eight, whose protégé he remains to this day.Quinn’s age and enduring relationship with Buddy Guy is certainly notable, but so too is his total dedication to his craft. “I wanted to see how far we could get musically on this album. I had a lot more creative input on this one and was more active in writing, so it’s something of a mixture. I didn’t want to completely break away from the blues – that’ll always be my home ground – but I just wanted to stretch out. Mastering the vocals was important too and was the result of a lot of playing and touring, and studying with a vocal coach. I’ll admit I hit an awkward stage with my voice when it was changing a few years ago, but I like the way things have worked out so far.”Quinn confides, “My major goal as an artist is to get into songwriting more,” and he’s well on his way with Midnight Highway, for which he had a hand in writing three of the stand-out tracks, “Eyes For You”, “Lifting Off” and “Going.” One of the other songs that Quinn tackled is George Harrison’s “While My Guitar Gently Weeps.” While Quinn will forever be rooted in the blues, he’s extremely passionate about The Beatles, so every effort was made to replicate the Harrison classic as faithfully as possible. Producer Tom Hambridge remarked, “We really tried to make it sound like it was off the White Album, so we researched everything about the track, where the mic placement should be, how to get the organ to sound like the original. Quinn is such a huge Beatles fan so, of course, he really loved the process.”The album was recorded primarily at Nashville’s prestigious Blackbird Studio with some of the greatest players in Nashville, including many of the same musicians who played on the Buddy Guy albums that Hambridge produced. These include bassists Michael Rhodes and Tom Macdonald, guitarist Rob McNelley, and keyboard player Reese Wynans, a veteran of Stevie Ray Vaughan’s Double Trouble. Hambridge notes, “Quinn was anxious to make an album the way I make those Buddy Guy albums, and he did, in fact, tear it up. Quinn felt the mojo and he ‘brought it’ in a big way.”As a young child, Quinn was brought to numerous festivals and concerts by his music-loving parents. He was the “kid with the guitar “ in the audience, who would strum along with what was happening on stage. Through videos, Quinn became enamored with Buddy Guy, so his Dad made arrangements for him to meet his idol when Guy came to his hometown. Backstage before the show, he asked Buddy to autograph his guitar which, of course, he did — but on condition that the boy play it for him. That led to Buddy calling Quinn onstage to join him during his set and an unlikely, though solid bond was then formed between the great Chicago bluesman and the eager youngster from Massachusetts.Tom Hambridge calls Quinn “a sponge who soaks up everything that’s around him,” adding, “he’s listening all the time and he just so happens to be around great artists. Every time he plays, it’s a little deeper. Buddy Guy is, of course, his mentor, so he channels Buddy’s over-the-top reckless abandon.” That’s completely understandable, as Buddy has, more than once, advised Quinn, “Just go out there and show them why you’re here… make them remember you.”Off stage, Quinn is well aware of the unique opportunity he’s been afforded and is focused on music as an ongoing pursuit. He contrasts his experience with many of his contemporaries’ – “They’re struggling to come up with what they’re going to do when they’re out of school, but I’ve decided this is what I’m going to be doing for the rest of my life.”
1. Something For Me
2. Tell Me I’m Not Dreaming
3. Midnight Highway
4 .Crazy Into You
5. Eyes For You
6. Lifting Up
7. She Gets Me
8. Rocks *
10. Graveyard Stone*
11. Big Sky*
12. While My Guitar Gently Weeps
13. Buffalo Nickel