Broken Machine Definitely NOT Ash Wilson in Conversation

Broken Machine Definitely NOT Ash Wilson in Conversation

 

Broken Machine Definitely NOT
Ash Wilson in Conversation

 

 

I was delighted when I was sent your debut album Broken Machine to review.  It is certainly an album full of blues strong guitar that makes compelling listening.

BD: What were your first musical influences growing up in Lincolnshire?
AW:
I played the guitar, but didn’t like guitar music, early on it was acoustic chords but had no interest despite being exposed to guitar music by my parents. It wasn’t until I heard a Kenny Wayne Shepherd tune on the radio, that I thought ‘I really like the sound of that’. Then I discovered Stevie Ray Vaughan, through him Jimi Hendrix and through him Howlin’ Wolf and further back through this one bit of exposure.  I met a guy when I was at Music College who had a friend who was into blues music. Other than Eric Clapton, who everyone knows I didn’t know many exponents of Blues.  If you like Blues you need to meet Trev he was my education in the blues and electric guitar.

Then I had a band with him for a few years called The Melts. He played harmonica and sang while I played guitar. It was my blues pilgrimage early on that is what got me into the music as such was pretty much Trevor to be fair. The kind of music Mum & Dad listened to was more Progressive Rock the likes of Genesis and Pink Floyd.  So not much blues guitar, though Dave Gilmour is a massive hero of mine and is a super blues player, I didn’t identify him as a blues guitarist until much later on. I come from a musical household, where everyone is well into music but blues was something I brought in after meeting different people. Then Dad came out of his shell and that he really liked Rory Gallagher it was a strange development really after not having any blues in the house. Dad brought all this old blues to the table that I hadn’t heard before on records saying you should listen to this and listen to that. I can remember saying to my Dad why didn’t you play this stuff years ago. He said, didn’t think you would be interested and to be fair I wasn’t. I played piano when younger I didn’t really have great yearning to play that instrument again. Until my cousin came over with an old acoustic and showed me a few chords I thought really cool and liked it.  I didn’t know where to look other than the likes of Gilmour and when you first start to play you have no idea how to deconstruct what was going on as couldn’t play the guitar. I asked for guitar lessons for my fourteenth birthday and then met a guy who had a band and Dad’s old records got really interested in sixties blues boom in the UK and further back. As I have got older I have gone further back, I hate to admit didn’t get into Hendrix for ages didn’t like the sound of the recordings I was so used to produced music. I didn’t like the fizzy guitar sound of Hendrix I couldn’t get my head around it then I got it. As I started to hear the depth of vinyl and the monstrous fuzz tones that we all try to get. Started to go further back and appreciate Leadbelly and Robert Johnson then came back through Muddy Waters. It was a cock-eyed way of finding music I didn’t go back in chronological order I was bouncing all over the place.

BD: Broken Machine is your debut album how did you decide on using Superfly Studios, your brother to produce the album and then Hoax guitarist Jesse Davey to guest and master the album?

Broken Machine Definitely NOT Ash Wilson in ConversationAW: Superfly, well I have been friends with Wayne Proctor for coming up to fifteen years now and worked together on Indie projects I was involved in. So after my first blues band parted company, I put together a Blues trio together with my brother Phil and Laurence Jones’ current bassist Greg Smith and we went out did local shows. Wayne came to a show and said should come to the studio after hearing track Throwing Knives which wasn’t bluesy at all. It was then called Bluewater and Wayne had just started producing and did an EP with him where Wayne played drums and Steve Amadeo  (Ainsley Lister’s bassist – and playing with Ian Parker at the time).  Alt Rock band Djune with no guitar solos the music was all about the song. We played for couple of years opened for Ocean Colour Scene despite that we never really got past the first rung, that said we were a good live band. It was in a way a vanity project with my brother Phil, alt rock inspired by Feeder, Queens of the Stone Age, etc. Recorded an album at home on a limited budget but no deadlines spent a year and learnt a lot. Then the opportunity to join Sean Webster. Not performed on the stage for a long time and not played lead very much had been locked into rhythm guitar. Sean plays a lot on the continent especially Netherlands. Played with him for about a year then got itchy feet, yes lots of work but all very specific whereas I like to do different types. So setup side project the idea was to record in the style of Jimmy Vaughan, a traditional blues album. Three guys in a room, with the whole album sounding similar to Peace & Love I was paranoid that the album would never get done, the obvious choice was Roger so rang him and he said yes so the eighth wonder of the world was on board. Only booked the studio for a week to lay down album of straight blues. I had known Andy at Superfly so obvious choice for engineer the studio close to where I live, love the music they have produced. I believed that it would be a speedy process seven days last the music job a good ‘un.

Jesse got involved as I had sung on his solo album, Big Blues. He has not got the public image that he deserves, I am a big fan of Jon Amor who is a superb guitarist, singer and writer who hasn’t got the wide public image he deserves. Met him through Barry Middleton at The Running Horse, same time as I met Wayne. The Hoax was before my time missed them in their heyday.  Jesse’s guitar is powerful and exciting, on Big Blues, by the first solo I was enraptured by it when Phil played it to me what a concept a record for a film. A Soundtrack but no movie. Jesse’s own guitar pedals sound just incredible and I was interested in his gear and wanted to buy a pedal. Listened to Infamous Vampire that JD has mastered and he asked if I would like to sing on the record. It was an amazing experience as we started by co-writing over Skype in one night we had Revelator. The lyrics are quite misogynistic but fun to listen too. It reflects on the fifties and sixties winking of an eye and Revelator is a party rather than the book of revelations! A bonus that Jesse didn’t hate it.

So with Broken Machine thought be cool to get Jesse to play on The Hitcher idea for the music came out of a jam. Late night drive, reminded me of a past experience. I though get Jesse on this song with a high ghostly vocal circa Glenn Miller and I’ll sing falsetto, visualising she was driving with the ghost of me. Told everyone else and the second guitar adds extra to the existing to a hypnotic level no difficult chords the other person is the emotional crux as I sing I was the last to know.

With Phil on Drums and the experience of producing the Djune album in our bedroom Phil as the producer was a perfect fit. As the album developed it became less a Jimmy Vaughan inspired collection. The songs took shape and the variations in sound reflected the purpose and meanings of the lyrics. We worked together Roger had his input he was clear when a song didn’t work and sent me away to build on the lyrics. Broken Machine was shaped by my experience and the interaction of Phil and Roger.

BD: Does the Title of the album Broken Machine have any particular significance?

AW:  The song Broken Machine came first, not a deliberate album title. Broken Machine is about relationships that do not work. The whole album is my life up to getting married. It is Ash from 15-30 nothing in the album covers the now it is set in the past. That said the track seemed the perfect words of the album title as it reflected the past.

BD: The album is in your name with the musicians chosen featured. Will this be the band you use when you tour? I am assuming here that you are going to be touring the album so we can hear the music live.

AW: Tour Plans… well, we are supporting South African guitarist Dan Patlansky when he tours in May. Really excited to be on the same bill and getting my music known across the U.K. we have other festivals and dates in the pipeline, it is all happening fast and once confirmed, there are some exciting Autumn dates in the pipeline I will be the first to be shouting about them through social media.

The band will definitely be Roger on bass and we are looking for a permanent drummer watch the space for the announcement. With the increasing number of gigs it would be impossible for Phil to continue in drumming role due to his commitment with Laurence Jones.  So answer is yes, lots of opportunities to hear Ash Wilson play Broken Machine and more live.

BD: I have always been interested in the lyrics of a song. The lyrics are very strong including Domestic Violence on Words Of A Woman. Do the lyrics always come first or sometimes a guitar lick or riff inspire you?

AW: This was written after the birth of my first child I was feeling emotional and vulnerable. I overheard a conversation and put myself in a wife’s place when husband has an affair, the emotional abuse when it is found out. The song is emotionally charged as the poor women thinks today is going to be the same as any other day and in a couple hours later her entire world is turned upside down.  Exploring how, why the lyrics are emotional and found them difficult to sing live.

BD: Where do you get your inspiration for your songwriting?

Broken Machine Definitely NOT Ash Wilson in ConversationAW: Normally my own experiences, the exception to date is Words Of A Woman. In fact, Roger loved that line hated the rest of the lyrics he felt were not so great, went away thought about it and remembered an event I had overheard a complete stranger. Talked to Roger as not sure about writing about someone else’s emotions, he said do it so wrote down a song that really works. Lots first on this album never written ballad before took a year to write. Could have gone to Sean but thought do it myself blaming my voice ability to level a room without doing anything but his voice. Played three years worked every time with Sean.

Moments that you had are gone we change, write and visually I try to make the words paint a picture then it is easy to write.  Often it is a phrase or even nonsense at the start and write over and around and the flow of the song builds. The story unfolds. Or it can start with a guitar solo and that inspires.

Emotional involvement is a must especially important for a ballad like Holding Hands

Next album more confidence singing about other people as well as myself. I am quite conscious of people watching anything that affects not sure about going political frustration what is on TV politic

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

Drums: Steve Gadd
Bass: Pino Palladino
Guitar: Jimmy Vaughan, Doyle Bramhall II (could have 10!)
Rhythm Guitar: Keith Richards
Keys: Stevie Wonder
Vocals: Etta James/Muddy Waters

These playing on the same stage would be really hard but interesting music would happen that I am positive.

Check out Bluesdoodles Review of Broken Machine HERE

Check out Ash Wilson’s Website HERE

http://www.ashwilsonmusic.com/shows

Debut Album Broken Machine from Ash Wilson

Debut Album Broken Machine from Ash Wilson

Debut Album Broken Machine
from Ash Wilson

 

Prodigiously talented in the studio guitar and vocals melded into a harmonious medley that leads you down deep into the lyrics. (Having seen Ash play live at Skegness this skill is transferred to the stage, his live performance is spellbinding.)

The album is a British blues brotherhood, joining Ash Wilson on Drums and production is his brother Phil Wilson on Drums; taking time out from Laurence Jones drumming duties. Completing the Rhythm section is iconic and instantly recognisable is Roger Inniss. On loan from King King, Bob Fridzema adds the colour and meaty textures of the Hammond and keys. Into the mix for good measure Hoaxes guitarist pops up to engineer the album and join in the fun on The Hitcher. Now we are all introduced sit back and enjoy an explosion of contemporary blues energy combined with the legacy of the sixties and beyond. The music is encapsulated not so much in a Broken Machine but a swirling vortex or a time machine garnering blues tones from across the decades.

Opening with Show Me How To Love You, with this playing skill Ash audiences cheers and whoops of delights will tell you loud and clear. With a fuzzy, chugging opening chords we are drawn through the river mists to the banks of the modern electric Mississippi blues with echoes of the Hoax in the delivery of the vocals from Ash. Followed by an aptly titled number, World’s Gone Crazy, with a swirl of Jagger as he delves into the political backdrop of 2016. The single from the album is the Hammond Drenched rumbling Peace and Love that would fit into a Hoax album neatly with the guitar reminiscent of Jon Amor with a swagger. Now for the title track, what is this Broken Machine? Definitely not the band they are on fire. The cadence of Ash’s vocal changes with standout riff’s that rocks the boat. This is a track that sets down the burning ambition and strength of Ash Wilson and his band.  The Hitcher crammed with the sound that makes British interpretation of the Blues such a delightful listening experience. From the first note, Ash Wilson’s guitar joined by Jesse Davey is taking us on a road trip we all want to be part on. This is a quieter more laid back number with the distinctive guitar solo’s this takes back to the sound of crooners and hints of the big band fullness of sound.  Like all the music on the album, the songs have a story personal with ghostly memories of hurts, frustrations and joys from the past.

Closing the album with Holding Hands, a sweetest duet between guitar and Hammond. Bob And Ash working in harmony as the heartfelt ballad unfolds. The ballad of damage that never goes away how you are left a broken machine by past experience. There is no doubt the Ash Wilson has a vast amount of skills in the tank of playing the blues and potential to grow.

As a debut album Broken Machine stands out from the crowd. Why? Ash Wilson’s vocals, powerful, gentle, crooning and always as clear as a bell. You expect guitar playing to electrify, percussion on the beat but the vocals make or break many an album. Broken Machine is made by vocals that will always connect and are the extra instrument that blues must have lead breaks however fast and furious do not cut the mustard. Vocals and Lyrics are the winning combination.  Added to this is the production which is crisp and the focused intent to take you on a musical journey of blues, contemporary and reflecting styles and textures through the Ash Wilson guitar. Another gem from Superfly Studios.

Ash WilsonBroken Machine – Wilson Brothers Music Via Cadiz Records

NINE pawprint half inchdoodle paws out of TEN ….

Track Listing

  1. Show Me How To Love You
  2. World’s Gone Crazy
  3. Peace and Love
  4. Broken Machine
  5. Words Of A Woman
  6. Out Of Time
  7. The Hitcher
  8. Hold On Now
  9. Lonely Room
  10. Holding Hands

On Tour with Dan Patlansky

Cadiz Records

Broken Machine Never with Ash Wilson Find of 2017

Broken Machine Never with Ash Wilson Find of 2017

Broken Machine Never with Ash Wilson Find of 2017

Broken Machine Never with Ash Wilson Find of 2017The eagerly awaited debut album from UK Singer-Songwriter and Guitar Player Ash Wilson, Broken Machine. One listen to the single Peace and Love you are pulled deep into the machine. The band surrounding Ash Wilson add lay down great grooves. They are  Drummer and brother Phil Wilson, award-winning Bassist Roger Inniss, award-winning and talented dutchman, Bob Fridzema and special guest guitarist the mighty Jesse Davey.

The album is maybe best described by multi award-winning UK Blues Hall Of Fame inductee Wayne Proctor, (King King, Ben Poole, Stevie Nimmo), as “A fine record that grooves, rocks, twists and turns. You’re all gonna love it! Now grab a cuppa, press play and turn it up! LOUD!!”

 

Released Friday 21st April 2017
Available on CD and Digital Download
Pre-order the CD from Amazon UK or the
Digital Download from iTunes

Broken Machine Never with Ash Wilson Find of 2017Broken Machine Never with Ash Wilson Find of 2017Wilson Brothers Music in association with Cadiz Music Distribution are pleased to announce the release of singer-songwriter and guitarist Ash Wilson’s debut album ‘Broken Machine’ on Friday 21st April 2017.

Lincolnshire’s Ash Wilson is one of England’s most distinctive vocalists, guitarists and songwriters in contemporary blues music today. The debut album entitled ‘Broken Machine’is a watershed achievement for Wilson, both in terms of the many musical styles in the tracks, which begin and end with the blues at its core.

With the explorations and growth of him as a singer, songwriter and guitarist the album has resulted in spiritual growth expressed through the medium of his music.

‘Broken Machine’ sees Ash working together with his brother Phil Wilson who whilst drumming on the entire album also produces, mixes and co-writes the material on the debut album.

‘Broken Machine’ features the outstanding talents of bassist Roger Inniss (Chaka Khan, Laurence Jones), keyboardist Bob Fridzema (King King, Dana Fuchs), plus very special guest guitarist Jesse Davey (The Hoax) who plays on the ‘The Hitcher’.

Recorded at Superfly Studios, Ollerton, UK
Engineer: Andrew Banfield
Mixed By Phil Wilson
Mastered by Jesse Davey

 

Broken Machine Never with Ash Wilson Find of 2017

Take Me High With Laurence Jones New Album

Take Me High With Laurence Jones New Album

Take Me High
With Laurence Jones New Album

 

 

Back in the studio, Laurence Jones has produced an album that will make you want to return as you have a place to go despite the album’s title. Take Me High, produced by Mike Vernon, Laurence’s style and approach is mature, a real sense of purpose the blossoming of all the potential recognized in this young guitarist. With three studio albums under his belt and thousands of miles travelled to play the blues live, definitely a young guitarist with power, commitment, and a gritty determination.

This is an album whose music and lyrics ebb and flow. The collaboration between Laurence & Mike, has create a collection of songs that moved through the album like chapters in a book. Laurence with his new drummer Phil Wilson, bassist Roger Innis and Bob Fridzema on keys & organ wanted an album that fizzed with the energy of playing live.

The first thing you notice as the album opens with Got No Place To Go, the guitar is full, the bass line fat and Laurence vocals full of assured confidence. His guitar breaks, licks, and swirls have always lifted the imagination now his vocals are unveiling the story of why he has no place to go. He will always have a place to go with his snake charming guitar playing that lifts the tracks up and makes the sound pop out of the speaker.  With ten tracks this is an album where Laurence is stating I am here to stay this is who I am and Blues is what I play. The plaintiff Something’s Changed has a hard edge from his guitar and the rhythm is full of misplaced optimism as the phone call is waited for. Yes, something has changed Laurence is delivering a mature self-confident sound he is playing to delight and delight he does.  Three tracks in a guest vocalist Reuben Richards joins in as they Live it Up. The tempo kicks up a pace there is an airiness in the chord structure underpinned by Bob on keys. The guitar playing is masterful and the album leaves you wanting to go and see Laurence live, the tracks have that raw intensity that makes blues with a twist of rock addictive listening.

The chapters of a love story are revealed with every track. The keys, underpin the melodic force of I Will. Here we feel the emotion as Laurence promises to keep on loving I Will he sings, and then serenades the unseen lover with his ever-present blistering guitar that should melt any heart. The music changes with a dirty, swamp southern infused rock sound as he is Down & Blue. He is a long way from home, he wants some pills. The emotional angst is heard in the vocals and echoed by the vocals. We are feeling your pain, Laurence. Then the tempo clears and picks up with a clear vision as a cameo from Paul Jones’ harmonica joins the party. The harmonica curls around the lyrics as Laurence sings The Price I Pay and his fingers explore the fretwork. Closer with Higher Ground, the blues is chugging and the lyrics driving you home in the company of Laurence Jones, British, modern and full of the blues.

This is an album that grows with every listen. You hear more of the lyrics a guitar lick and the intertwining of Laurence and the whole band so the music is fat, full blues that captures the emotional feel of contemporary re-interpretation of blues.as personified with the ringing blues guitar with a brittle edge of the title track Take Me High!

 

Take Me High – Laurence Jones RUF Records

Bluesdoodles gives this CD TEN pawprint half inchdoodle paws out of TEN ….

Track Listing

  1. Got No Place To Go
  2. Something Changed
  3. Live It Up
  4. Addicted To Your Love
  5. I Will
  6. Thinking About Tomorrow
  7. Take Me High
  8. Down & Blue
  9. The Price, I Pay
  10. Higher Ground

The Globe Reaching For The Light with King King

King King WM-7284

The Globe Reaching For The Light with King King

 

 

Opening tonight to a sell-out crowd at The Globe in Cardiff was Laurence ‘call me husky’ Jones, carrying on like the trooper despite a sore throat. It was a warm welcome from the many Laurence fans who still remember the young boy who played and delighted Cardiff many years ago. With a new drummer Phil Wilson and bassist Roger Innis this was going to be blues all the way from the dim blue light semi-illuminating the stage (The Globe is currently having the lighting updated). The set saw Laurence opening with a baritone guitar adding another weapon to his guitar driven blues armoury. This was a short set in which Laurence fitted a basket full of blues vibes. Within the set we were treated to All I Need off his current CD, What’s It Gonna Be. Good Morning Blues, a legendary Leadbelly number that Laurence played earlier in the year on stage at Carnegie Hall for the Leadbelly festival was the stand-out number for me, and the set was closed with a tribute to the late great BB King. Less singing tonight and more guitar blues breaks was welcomed by many and definitely warmed the atmosphere ready for the mighty King King.

It was richly deserved that King King who have travelled many miles and played at gigs when a few dozen people have loyally turned up, know that the fruits of their valiant efforts have been rewarded they are a name that people travel to see not once but as often as possible on a tour. The cheers were warm and full of delighted King King WM-7268anticipation as the jammed-to-the-rafters venue welcomed King King on stage. We were delighted that the kilted scot Alan Nimmo and his band of musical boys were back in town. We have the albums but King King live have a verve and an irresistible charm of rock that kicks the blues out of your soul.

Opening with Lose Control, the audience may have been at fever pitch King King just played on with controlled passion that filled the rafters of The Globe with a warm sound. Alan Nimmo out front throughout the evening displayed the twin talents that make him such a superb front-man. His guitar playing was at times raw, then gentle and always sweet. Then he opens his mouth and his tenor delights as the words are caressed and formed by his silvery tongue. The emotion is added to lyrics that make you want to rock n’ roll. Cry and sigh he nailed every song tonight. His confidence is high having been opening with the band for among others Thunder and John Mayall; this he uses to great effect. The crowd warms to his cheeky smile and tales he had the Welsh audience singing loudly and with delight he even said we had the job. King King like all great bands is more than the sum of the total parts. To Alan’s left is the mighty Bob Fridzema on keys and Hammond C3 he produces a wall of sound that adds another tonal layer of chords. His playing can be intense and then on other tracks gentle, a subtle whisper, adding hidden depths. To his right Lindsay Coulson, with his trademark dark blue bass and King King embellished strap; an evergreen presence who has shared every moment of King King’s journey. Sitting behind his Ludwig drum kit sits the awesome pivotal force Wayne Procter and his drumming. He adds a deep beating tone and texture to King King. What a quartet! With each year a new signature arises from the set list and at the moment it is Rush Hour from their current album Reaching for The Light. The whole set was a standout – Frankie Miller’s Jealousy full of emotional control as Alan combines guitar work that zings and his vocals purr and curl around the six-strings. Tonight, You Stopped the Rain was dedicated not to his older brother Stevie Nimmo, but his mother who is poorly in hospital. Everyone at the Globe sent speedy recovery wishes. Rather than go through the set list which is below it was the atmosphere that King King live creates that is what makes them a must see band in 2016. The instrumental included in the set was a fantastic addition. King King WM-7343Having Bob to open and lead the tempo adding some funky chords, subtle jazz interludes then back into rocking good blues. All four had fun following the path Bob was musically leading them and gave the instruments a moment to shine above Alan’s vocals. Live music will always have a special frisson of energy and emotion. King King delivers this live energy that is plugged directly into your musical antenna and sends shivers of delight up your spine and deep into your soul and memory. They manage to make you dance, laugh and cry and have a thoroughly great time.

As King King’s reputation grows and the expectation of the audience before a note is struck rises they have to continue to grow and showcase the music that will keep everyone coming back for more. Tonight King King surpassed expectations they were on fire, the selection of tracks from across their career fitted the bill, leaving us wanting more and counting down the days when they are back on a stage so we can hear King King live, sparkling and full of blues in their soul that has the edge of rock to spice it up.

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Set List

Lose Control (King King Album – Take My Hand)
Wait On Time – Thunderbirds
Waking Up (King King Album – Reaching For The Light)
Rush Hour (King King Album – Reaching For The Light)
Long History of Love (King King Album – Standing in the Shadows)
More Than I Can Take (King King Album – Standing in the Shadows)
You stopped The Rain (King King Album – Reaching For The Light)
Jealousy (King King Album – Standing in the Shadows)
Crazy (King King Album – Reaching For The Light)
All Your Life (King King Album – Take My Hand)
Stranger Love (King King Album –
Reaching For The Light)
Encore – Let Love In (King King Album – Standing in the Shadows)

Disappointed to have missed King King well they are back on tour soon with special guest Dan Patlansky

– get your tickets fast they are selling like the proverbial hot cakes..

Dan Pat King King Tour

CD Review: Matt Edwards ~ Four Berry Jam

mattedwards2

 

Matt Edwards
Four Berry Jam
Independent

 

 

This is an album full of taste and texture that a quality Four Berry Jam from a Women’s Institutes stall would be, sharp and sweet richly red in colour full of hidden depths the mix is of twelve original compositions definitely hit your musical taste buds. Opening the album with a sharp guitar lick Behind The Wall with Matt’s vocals the whole sound is reminiscent of early Oli Brown. The opening track is proclaiming this is a band that should be heard far and wide. With a strong rhythm section of regular drummer Andy Norris and the effervescent bassist Roger Inniss Matt knows he has the platform to explore his vocal and guitar delivery. There is a feeling of funkiness as we hit the second track Dreaming of A Time Before, now intrigued by what will unfold through the rest of the album.
The change of styles, funk, rock, ballads does not make the album feel it is jumping from one style to another to add some difference, the tracks link together with the vocals and guitar style that is a consistent tour-de-force throughout the album; the style changes emphasize the depth of the tracks and add to the lyrics. This Year picks up the tempo and we hear and foot stomping rocky number that has some great drumming from Andy, whereas the bass comes to the fore and we hear Roger step up the power in the laid back blues ballad Same Old Self which is the perfect foil to the vocals that have a yearning power. Half way through and the strength of the album is evident with Picking at The Bone pulling back to urban blues roots deep in the heart of Chicago; can the quality be maintained over the next six tracks I will give you an early clue… YES. With the electro edgy intro the guitar picks up and wails through Don’t Need You Anymore and then the story unfolds with the vocals who soar above the guitar but never in competition. Miles and Miles is an upbeat groove that borrows some Jazzy licks that flows and ebbs as the tempo ebbs and flows. The closing track Taking Up Time has an acoustic feel and leaves you with Matt’s vocals swirling round your head; this is an album that celebrates the diversity of musical tones and creates a groove that is sweet and sharp; pure and complex and above all entertains.

The timing throughout the album is pinpoint sharp with lots of engaging instrumentation full of blues, rhythm and soul; if you are expecting Blues with an edge that is not full of well-worn grooves and formulaic riffs then Four Berry Jam will satisfy.

Bluesdoodles gives this CD SEVEN doodle paws out of TEN ….pawprint half inch

Tracks
1. Behind The Wall
2. Dreaming Before Time
3. This Year
4. Same Old Self
5. All In Pieces
6. Picking At The Bone
7. Make A Wish
8. Don’t Need You Anymore
9. Another Round
10. Miles and Miles
11. Walk
12. Taking Up Time

Band Members
Matt Edwards: Guitar/Vocals
Andy Norris: Drums
Roger Inniss: Bass Guitar

CD Review: Erja Lyytinen ~ Live In London

Scan0007Erja Lyytinen
Live In London (CD & DVD)
Tuoni Records
Release Date 8th June 2015

Live albums are in the vogue at the moment and Erja Lyytinen’s is one that will never gather dust as she transports you into the world of Elmore James and the blues that her skillful slide guitar when interpreting his work or delivering numbers she has written. The energy gained from the years of touring before setting down this capture of Erja and her band playing live is evident by the honed musicianship, immaculate timing and the pure joy of playing in front of an audience at the iconic 100 Club, London.

Opening, with a Fred McDowell number It’s a Blessing we hear just Erja’s vocals a cappella deep and full of emotion we hear a holler that is repeated by Miri and Roger and then the hard driven notes from the guitar draws the number to a close setting the scene for her live in London album. We hear the first of the four tracks that Erja was involved in writing, two of which are co-written by her long-time musical partner Davide Floreno. The guitar work on Let It Shine, is as you expect from the first lady of slide guitar outstanding with her vocals full of sultry warmth and promise pitch against the guitar adding colour and texture that draws you deep into the spellbinding performance.
In the middle of the album we have a quartet of self-penned numbers Grip On The Blues, opens with a Hendrix, psychedelic overtone from the guitar and a rhythm section that is tighter than tight so the shape and format captures and tames the vocals of Erja. This is an interesting track showing the depth of the skills Erja the Finnish guitar can offer an audience. We hear a change of tone and tempo with a track that is lighter with Change of Season, and her voice is full of controlled emotions as she sings the lyrics that have a mesmerizing quality. Back to blues with a track has an energy that flows across the auditorium with Everything Is Fine, a track that shows the synergy between the whole band they are playing as one the guitar work has a bell-like quality then gets a little dirty; Erja is both the light and dark side of the blues. Finishing this section of the concert is Hold On Together; electrifying blues that just flows and sways with the beat laid down by the rhythm section, thus Erja can take the reins and play and deliver the track with freedom that brings a warmth to her blues.

Back to Elmore James for the last three tracks, with The Sky Is Crying, Erja captures the tone and mood of this song so well and the drumming from Miri Mittinen is as ever hits the beat so that the guitar can have the support it needs to slip slide away. Closing with an eleven minute rendition of a full on spring cleaning version of Dust My Broom, and cobwebs will be cleared away with her steaming slide and soaring vocals, the bass line is delivered with purpose by Roger Inniss, the silence falls and deepens for the guitar lead break that goes quieter and quieter and the intensity just grows no wonder the audience goes wow.. this certainly hits the blues spot and a fitting closing number for this recorded concert.

TRACKS
1. It’s A Blessing (Fred McDowell)
2. Let It Shine (Erja Luytinen)
3. Person To Person (Elmore James & Marshall)
4. Hand in Hand (Elmore James)
5. Grip Of The Blues (Erja Luytinen)
6. Change of Season (Erja Luytinen & Davide Floreno)
7. Everything’s Fine (Erja Luytinen & Davide Floreno)
8. Hold On Together (Erja Luytinen)
9. The Sky Is Crying (Elmore James & Clarence Lewis)
10. It Hurts Me Too (Elmore James & Marshall Sehorn)
11. Dust My Broom (Elmore James & Joe Bihari)

Bluesdoodles gives this CD TEN doodle paws out of TEN ….pawprint half inch

Erja Lyytinen: 2015 ~ Tour Dates & New Album

erja_lyytinen_live_in_london_cover_smTuohi Records is pleased to announce the UK release of Live In London, the highly anticipated new album from Finnish blues guitarist and singer-songwriter, Erja Lyytinen.

The album will be released on CD and digital download in the UK on Monday 8th June 2015. The CD edition will also include a bonus DVD disc featuring the 100 Club concert filmed in its entirety. On October 7th 2014, Erja Lyytinen rolled into London’s iconic venue the 100 Club for an evening of live music. At her side, Erja was accompanied by a crack band featuring long-time musical partner Davide Floreno, bassist Roger Inniss and drummer Miri Miettinen.

After three years as a cohesive touring unit, Erja’s band was on full form. The groove, artistry and undeniable power of their performance on that famed 100 Club stage has been beautifully captured in all it’s excitement on the CD/ DVD 2-disc set Live in London.

What they say about Erja:-

“One of the best slide guitarists”Classic Rock Magazine

“Erja sounds like Elmore James as he played in the 1950s whilst adding her unique flair and 21st century vista”Blues Matters
… an album that has distilled a Musical perfume bottle, full of magic, passion, dexterous slide guitar and that mix of tones and tempos creating the essence of Elmore James” – Bluesdoodles
Queen of the slide guitar” – Get Ready To Rock

Erja Lyytinen has released a song from the DVD – Change Of Season – from Live In London CD/DVD

 

See Erja live at the following UK Blues Festivals in June 2015:

Erja_Lyytinen_01

Photo Image Tina Korhonen

LINTON FESTIVAL – Friday 19th June 2015
DURHAM BLUES FESTIVAL – Saturday 20th June 2015
CLEETHORPES BLUES FESTIVAL – Sunday 21st June 2015

See Erja live UK Tour October 2015:

DARLINGTON, DARLINGTON BLUES CLUB
Friday 2nd October 2015 – Box Office: 01325 363135 Book Online HERE

SHEFFIELD, THE GREYSTONES
Saturday 3rd October 2015

BARNES, BULL’S HEAD – Monday 5th October 2015
Box Office: 0208 761 9078 Book Online – HERE

WOLVERHAMPTON, ROBIN 2 – Wednesday 7th October 2015
Box Office: 01902 401211 Book Online – HERE

EDINBURGH, VOODOO ROOMS – Thursday 8th October 2015
Box Office: 0131 556 7060 Book Online HERE

KEIGHLEY, KEIGHLEY BLUES CLUB – Friday 9th October 2015
Box Office: 01535 600310 Book Online HERE

OXFORD, HAVEN MUSIC CLUB – Monday 12th October 2015
Box Office: 01865 244516 Book Online HERE

EVESHAM, IRON ROAD – Wednesday 14th October 2015
Box Office: 07831338277 Book Online HERE

CHISLEHURST, BEAVERWOOD CLUB – Thursday 15th October 2015
Box Office: 0208 761 9078 Book Online HERE

SUTTON, BOOM BOOM CLUB – Friday 16th October 2015
Box Office: 0208 761 9078 Book Online HERE

CHESTER, CHESTER BLUES FESTIVAL – Saturday 17th October 2015
Box Office: 01472 349222 Book Online HERE

FROME, FROME BLUES FESTIVAL – Sunday 18th October 2015
Box Office: 01472 349222 Book Online HERE

CD Review: Laurence Jones ~ What’s It Gonna Be

Gonna Be

 

Laurence Jones
What’s It Gonna Be
Ruf Records
Release Date 13th April

 

Opening with the title track the self-assured opening guitar and vocals tells you this album is gonna be – a maturing Laurence Jones putting down on the recording the music he has been playing on the road and reflects the honing of skills touring with his band that has given him the poised confidence to play the rocky harder edge blues that he enjoys and we enjoy listening to.

The Rhythm section with stylish Roger Inniss on his six-string bass has given Laurence a fellow musician to bounce his intuitive riffs and licks off so that the sound is full with a quality of timing that you get when you understand the people you are playing with; and the drumming by Miri Meittinen is inspired with deft swipes of the cymbals embellishing the vocals on tracks such as Evil. The next track has a swampy southern feel that has a driving beat that is infectious and certainly gets the feet tapping the guitar work is impeccable and like the song touches moonlight.
We have the addition of the sparkling female vocals of Sandi Thom duetting on the single from the album Don’t Look Back. And as his career grows this is a young man who definitely has lots to look forward to. This is a gentler number that allows the guitar to bend around the melody line and the vocals blend together this is a track steeped in harmonies creating a sound that should get airplay across the stations. All I Need opens with drums and a deep bass line that allows the guitar and vocals to sing at a higher pitch, this is blues that has a popular appeal that will win him even more fans. We have a different tempo and texture with Good Morning Blues, with a spoken intro and then hard snake bitten driven blues guitar that pumps out the bottom line with his voice searing through the beat sets down a track full of energy, interest and certainly one of the highlights for me with its dirty feel and authenticity of timing and style.
Nearer the End is there going to be a gentle ending now we have another change in tempo and vocal direction as the second guest fellow RUF record artist Dana Fuchs joins the Laurence Jones party. This rocking number, Can’t Get Enough, has a chorus line that is infectious and live will get the crowds singing, Dana’s vocals are full of grit and blues moodiness that reflects the beat and then serenades with Laurence this is such a catchy R’n’ B number it oozes style and popularity.
Closing with a track always popular when you hear Laurence live is Stop Moving The House, ending a party of an album with stylish keys as Laurence begs the House to stop moving following a night out on the town. The track finishes the album on a high leaving you wanting more – easily remedied catch Laurence live at a town near you.
The album benefits from the addition of keys to the bedrock of the band; delivered by Jools Grudgings or Lewis Stephens and fine backing vocals from SJ Mortimer. The production by Roger and Laurence shows what all round talent this young man is with his superlative guitar work across the eleven tracks; vocals that emotionally engage with the lyrics, melody and listener as he delivers songs that highlight his songwriting skills. This third Laurence Jones album; What’s It Gonna Be is definitely the best yet with a continuing growth in vocal delivery augmenting the guitar playing he has always been recognised for. He is becoming the real deal when delivering British blues that rocks, rattles and pleases.

Bluesdoodles gives this CD NINE doodle paws out of TEN ….pawprint half inch
Track Listing

1. What’s It Gonna Be
2. Don’t Need No reason
3. Evil
4. Touch Your Moonlight
5. Don’t Look Back (Feat. Sandi Thom)
6. All I Need
7. Being Alone
8. Good Morning Blues
9. Can’t Get Enough (Feat. Dana Fuchs)
10. Set It Free
11. Stop Moving The House

Band
Laurence Jones – Vocals and Guitars
Roger Inniss – Bass
Miri Miettinen – Drums

Additional musicians
Keyboards Julian ‘Mr Jools’ Grudgings & Lewis Stephens
Backing Vocals SJ Mortimer

Special Guest
Sandi Thom (track 5)
Dana Fuchs (track 9)

CD Review: Dani Wilde: Songs About You

Layout 1Dani Wilde

Songs About You

Bri-Tone Records

 

 

There is an elegance in both the guitar playing and the vocals and the percussive undertones throughout Songs About You, creating a mood board of musical textures and the songs are relevant to everyone with feelings apparent on fist listening and after listening to on repeat it is indeed a mighty fine album. Every song composed by the multi-talented Dani Wilde and all eleven tracks are strong with lyrics that reflect an emotional connection to circumstances of life.
The opening track Open Road is evocative of a trip with the opening guitar, piano and country twang and then the glories of Dani’s soprano purity as the lyrics unfold full of memories and yearning; this is a track that hooks you in with its jaunty chorus line and the twang of guitar and clear piano notes you just want to hear more.
This is an album where the music and vocals blend to produce a full acoustic sound with layers of tonal contrasts with Dan’s pure bell like quality and the raunchy voice lower down the scale combine with a backing waterfall of tones with the mid-tone of Bethany on cello which for me connects to my music radar every-time. The rhythm section, guitars courtesy of Todd Sharpeville & Stuart Dixon and Rhodes piano effectively add in the layers to create a tonal sculpture of delight as seen on That Ain’t Love.

Fancy something a bit different well track four pleases you as Change is certainly a break in feel and tempo from the beginning of the album, the lyrics just draw you in with some superb drumming with the backing singers adding another layer of interest. Half way through and I was mesmerised by the quality of production every note is played and meshed together to create a whole sound that has the sole purpose of showcasing the talents of Dani and her vocals that are very special they combine a purity and every word is sung so they can be heard and the emphasis is put on certain phrases so that the song makes perfect sense. Flame has the feel of a contemporary twist on a Lieder song it would work as well with just a piano accompaniment; there is a simplicity that can only be created when talent works in harmony.

Begging For Love has a wonderful intro that with Piano and drums has a Latino dance feel and your hips move to the sultry tones and your brain engages with the words and you smile with the cheeky percussion and use of male backing vocals including her brother Will. The closing track is Time and we have a southern country blues riff that meanders like a bayou, this is a perfect end to an album that is such a joy to listen to, want to hear more of the cello guitar and vocals, then make the time to put on replay and listen again, I did.

This is an accomplished album from Dani Wilde reflecting the maturity of the vocalization and the projection of her voice to portray the emotion and feeling of the song and connects to the listener’s inner soul, while still keeping that skillful finger touch that makes her six-strings resonate in harmony this is undoubtedly a powerful album.

Bluesdoodles gives this CD TEN doodle paws out of TEN ….pawprint half inch

 

Tracks
All songs composed by Dani Wilde
1. Open Road
2. Change Your Mind
3. That Ain’t Love
4. Change
5. Loving You
6. Flame
7. Cruel World
8. Begging For Love
9. Diamond In The Dark
10. Let Me Be Your Sunshine
11.Time

Band

Dani Wilde: Lead Vocals, Acoustic Guitar and Backing Vocals
Stuart Dixon: Electric Guitar, and Acoustic Guitar on Tracks 3 and 9
Roger Inniss: Bass Guitar and Upright Bass
Janos Barrista: Piano
Gregory Coulson: Rhodes and Organ
Fergus Gerrand: Drums and Percussion
Bethany Porter: Cello
Todd Sharpville: Acoustic Lead Guitar on Track 3
Backing Vocals: Katey Brooks
Ross Alexander
Will Wilde

 

Produced, Mixed and Mastered by Stuart Dixon at Platform Studio