Sonny Landreth New Album Recorded Live in Lafayette
Sonny Landreth, back with his first live album for twelve years. A double CD; part acoustic/ part electric Recorded Live in Lafeyette is a gem. This is most definitely a two-set celebration of bottle-neck guitar; Landreth style, interaction of his band of long-time cohorts is just what his phalanx of fans have been asking for. With sixteen carefully selected tunes reflecting his musical career with the added energy of being recorded live across three nights and co-produced with Tony Daigle.
Opening with Blues Attack, rearranged for this acoustic offering the title track from his debut album gets the mood going and your ear hooked into the sound blues coloured in with Louisiana creole. ’ “It gives you a chance to explore those songs in a different way,” Landreth says, describing the textures created by the intersection of Dave Ranson’s ukulele bass, Brian Brignac’s cajón, Steve Conn’s accordion and Sam Broussard’s acoustic guitar. “The familiarity is there,” he adds, “but I also wanted to turn those guys loose as much as possible.” From the first note to the last this is a band having fun enjoying the music and painting through the notes a warm atmosphere of foot-tapping, dancing music.
The album seamlessly moves on to Hello Home. The music has that all-encompassing feel of a safe harbor soothing the soul with the many extended instrumental breaks. Never power-driven lead breaks but beautifully structured interludes between the lyrics. Throughout the album the applause is genuine, the cheers real this is live music every audience at the venue or through the speakers will find solace in the crafted slide guitar with its percussive shaping weaving through cajón, accordion music that is infectious.
With a percussive jolt, sharp acoustic and Sonny’s vocals we enter the world of the Creole Angel. The beat is relentless, demanding attention as Steve Conn’s accordion joins the party. Now we have the Creole tempo, textures and tones urging you to smile, clap and dance to the music with an exuberant vibe. The album is led by the instrumentation with the vocals adding another tone as the tempo and changing the mood. The blues is cold and determined as acoustically Sonny explores Bound By The Blues, with a holler and a cry we cross seas, hear names of bluesmen united by the musical form.
The U.S.S Zydecoldsmobile a perennial live favourite is unplugged, full of driving force at Live at LaFayette. The guitar work has an energy that is Landreth’s trademark always exciting and entertaining as blues is shaken and stirred up with the warmth of Creole spice and rooted in quality.
The second set, the guitars are plugged in electric and duel as we hear the other side. The guitar has a purity, sharp-edged as True Blue is explored the sparks of the six electric strings sparking off the vocals. Ümbresso tempo is fast with a distortion that adds a dangerous element; always in control nothing is overdone as the sonic sounds pours from the speakers and you are immersed into the instrumental you are in the room with Landreth.
A click of the drumsticks, hill country blues tones are fresh as we are striding out with Walkin’ Blues. Closing out with high-stepping accordion, this is fun as Sonny sings about the One and Only Truth or mama’s philosophy, having fun with life , this closing track certainly has the crowd cheering. Who can resist dancing to the foot tapping infectious beat.
The perfect time for the project as Landreth found himself at one of life’s inevitable crossroads. The result is ninety-three minutes of music heaven, smooth, warm and spiced up with clever licks and breaks to keep the listening ear totally engaged.
Erja Lyytinen Talking about
Stolen Hearts and Being On Tour
BD:Hi Erja hope you are well, thanks for taking time to speak to Bluesdoodles, lots happening new album Stolen Hearts released 7th April and lots of touring including the UK from 9th April
EL: Really well thank you it is great to catch up with you again Liz.
BD: Before we talk lyrics, songs and touring how is life back in Finland juggling being Queen of The Slide Guitar with being a Mother
EL: Basically lots of balancing. Right now the twins are in daycare. Touring needs to be planned just organising life as off on a mini tour of Germany & Holland. It is all a rollercoaster ride often rather manic but definitely fun. You just have to jump-in and hope it all goes smoothly, often it doesn’t and you just go with the flow, that way you minimise the stress. Society and others have high expectations, which we are expected to obey. That we are all brilliant multi-taskers. Well, sometimes you have to concentrate on one thing and let the rest wait. The twins are used to me touring I have been doing it since they were two and half months old. February was a period of intense touring across Scandinavia with 24 shows in 27 days it was rather manic, we got through. Sometimes when I am in Finland the children can come on tour with me which is fun. I have a nanny to help and the twins love sitting in on the sound checks, playing with guitars we have really fun moments making lots of memories. I am a musician, a rock star but when I get home after a tour I am Mama again. The secret is to be versatile and I am definitely super happy. So glad I had the courage to have children, continue my musical journey one thing for certain is three years on I am a different person motherhood has definitely changed me.
BD: Stolen Hearts, your tenth album. Has a different shape to your Live In London and studio The Sky Is Crying. With eleven tracks that shimmer with blues that rock. Tell us about the thinking behind the album?
EL: Tenth album is definitely not a scary place to be. My expectations through life was that I would record lots of music. In fact, Number 10 does feel a good figure. This one feels like me, it is honest and a way for me to open up on the album. Reflects my life since motherhood and my life over the last two and half years has changed the way I look at things. I now try not to stress, not to be perfect. By the same token, I do lots of things and want to be good at what I do. On the album, this new feeling of relaxedness comes out. I now really enjoy being on stage, I now can open up and share. The album is very personal, the lyrics are heartbreaking stories. It is the end of a period of my life when I had the feeling that everything was going to collapse, eventually, it did, it took time to get out of that dark place. Music became my analyst where I could analyse my thoughts and feelings. This process deepened my musical expressions, now I am not afraid of being vulnerable, not afraid of being weak through that knowledge I have found an inner strength.
BD: You took the decision to record the album in two countries your homeland Finland and then U.K. Was it the lure of Chris Kempsey at the State of The Ark Studios?
EL: We recorded the backing tracks in Helsinki, some of the songs I had recorded one and half years ago and I needed to give myself more time as they didn’t sound right. We used Sonic Pump studios in Helsinki it is new with energetic young guys running the studio. Perfect place to record the backing tracks with the band. I wanted to take the album to the next level to give something new. Not just go to my home studio for the vocals and guitar, thought it would be nice to go abroad. I love England, I sing in English, so be good to have a producer who could check out my lyrics and pronunciation. It is so easy to phrase words that should be beautiful but mean something else English is so complicated with sayings and double meanings. I spoke to Alan Darby who is the songwriter I worked with in 24 Angels, which has a brilliant video. He suggested Chris, I checked out his CV and was blown away what an amazing history behind him having worked with so many Rock greats including The Rolling Stones, Peter Frampton and Bad Company. I contacted him and we started emailing, sent a demo from my home studio of rough over dubs. He instantly messaged back lets do it. He was so active in the 70’s & 80’s and the album was using lots of sounds from that era.
We went through studios and State Of The Ark was available it was cool a small boutique studio, with a homely atmosphere. It was an amazing experience from the first to the last track. I would recommend that everyone explores new soul mates in music it is invigorating.
BD:When reviewing the album, on the first listen what struck me was the range of tones and styles across the album from Heavy, brooding Rocking Chair (a new sound for Erja) through to the acoustic feel of Broken Eyes and the prog of Black Ocean. The diversity works there is a continuity in the lyrics, the emotional journey and the heartbeat of the blues ensures they all make sense. How did you come to create such different sounds and take the decision to record them?
EL: Yes, you are right it is the power of the lyrics they give the whole album a sense of context. I had other songs left out these were the ones that worked brilliant together. The album is about sadness, heartbreak, fear of loss, frustrations. Into the personal mix there is hope, happiness lust and sex. I cried when I listened to the whole finished album the emotions are so close to me they are personal. I did for a moment consider dropping Broken Eyes as it is a different tone from the rest but then I realised that it fitted perfectly lyrically. The lyrics are the link but Chris Kempsey is the genius that mixed the album. The engineer that mixes the album can either kill it or make it. Chris used a mix of Pro Tools and Analogue a mix of old and new reflecting the essence of the album. Old rock is behind the music, Led Zeppelin, Jimi Hendrix. I decided to forget about the radio, I am not pop, so like the bands of the seventies if the track is seven minutes like Black Ocean it stays that length, I wanted the long killer guitar solos. It is my music, my album and it was a joy to work with Chris. The mastering done at Air studios started by Beatles producer George Martin; working with Ray Staff was a professional joy. What a humble, lovely guy who had mastered icons including Bowie.
BD: 24 Angels, a single from the album, how do you make the decision on which track works as a standalone track? This number Co-written with Alan Darby, certainly sounds like your vocals are flirting with the mic and blues guitar that rocks?
EL: This track was the second, the first single was the title track Stolen Hearts last autumn to boost my tour last year and highlight the forthcoming album. The album was planned to be released earlier with crowdfunding campaign but for various reason it was delayed that is the way often in the music world. 24 Angels is a story worthwhile telling to people with pictures. It is multi-dimensional with lyrics that are about morality and forgiveness; about doing something to someone or someone doing something to you and the resulting suffering.
In the video, a relationship ends in a fight with hints of him dying in a car crash. It is that mix of forgiveness and regrets. Whilst writing the lyrics I was thinking of people walking the last walk on death row would you be regretting, how much you would suffer do you understand all that when walking the path. When I write I go to the very extremes. I have now opened that box and have for the first time explained my thinking behind my songwriting. This one I co-wrote with Alan Darby, a few years back he came up with the lyrics for the chorus ‘Bring me water, make me stronger’. He also put his emotions into the song. There were only simple chords before Alan jumped in and worked on the Erja idea. He made it rock more which really works. He is a sensitive guy with a long experience in songwriting for many including Eric Clapton & Bonnie Raitt among others.
BD: With the album taking you on new directions where are you planning to take us on the next road in Erja’s musical journey?
EL: Blues will always be at the heart of my music. I mainly listen to blues at home. But I like to make it modern for these times. It is more acceptable to do blues differently. There is a blues revival, with European invasion into blues music. I will always have my own style, I do not want to go back for one thing, it is impossible to get the sound nowadays. I am involved in a Jimi Hendrix tribute in May already sold 1000 seats. The show will be a celebration of fifty years since he visited Helsinki.
In music, you meet people and we all know that Rock n Roll can kill you. You have to take care of yourself so take care of myself try and eat healthy. Returning home after 31 shows in 37 days where you have no time for sports. It is important that you take it easy and do exercise take care of your heart physically and spiritually.
Now I have opened Erja’s box I have a couple of songs in the style of Stolen Hearts and have some ideas for the next album but they are my thoughts at the moment. I feel really strong about my writing new stuff at the moment.
BD: Having toured the new album, I believe you had a February launch date in Scandinavia. Do you have a personal favourite that really works on stage in front of an audience?
EL: I have had positive feedback in Scandinavia, where audiences can be a bit tight on the blues. I did wonder if they would like the new songs, a different Erja, but they seemed to like my new songs the edginess. So the feedback has been amazing. Personal favourite Black Ocean.
Looking forward to being back in the UK for five shows including launch party at 100 Club, London; HRH Blues and a double-header with your own Chantel McGregor. Hoping to be back to do more later on with a longer run of shows.
BD: Last time we finished with what your dream band would be this time – what are you listening to and what Erja Lyytinen track would you liked covered and by whom?
EL: Listening to Robert Randolph, his steel guitar sound is fabulous. Also, listening to John Mayer he is smooth, easy-going and Eric Johnson loving his new album EJ,
Who to cover my song What a question! It would have to be Stolen Hearts by Jimi Hendrix.
BD: Thank you for your time and looking forward to hearing the new numbers live at HRH in Sheffield.
Youthful Guitarist Aaron Keylock is a
Cut Against The Grain
The descriptive accolades for this young man are many. For me, the jury is still out. Aaron Keylock is definitely a guitarist who can shred, slide and more. Yes, a young guitarist with all the necessary potential to mature and fulfil the accolades being showered down on him with glittering ferocity YES! In the here and now in the studio, the sound is so different why? The power and clarity of the vocals, yet when Aaron performs live the clarity is lost when playing live.
Cut Against The Grain, saw this young guitar slinger pick up the axe and travel to Los Angeles to record the album. Producer of choice was Fabrizio Grossi, the choice of many including Alice Cooper, Slash and Zakk Wylde. The album has been produced to showcase this young talent, who is gaining attention, for being a young guitarist with flair now. As Aaron says himself. “I guess what I’ve always loved about Rock n’ Roll is that you’re free to express yourself in many ways and to use many guitar techniques to convey different emotions …. My influences really vary!” Now with an album under his belt he needs to shape the tone and style so that it is instantly recognizable as the Keylock sound, not an imitation of an axeman who has been and done it before whether Gary Moore on Just One Question, with its lead break straight out of Moore’s back catalogue in style and delivery. Elsewhere we hear hints of Rolling Stones, Rory Gallagher. Johnny Winter and others
Opening with All the right Moves we are introduced to the fast Aaron, with a catchy beat and it makes the perfect first single off the album. Medicine Man, well-known by people who have seen Aaron play live displays the ability to write lyrics that tell a story that has a Southern feel and instantly recognisable. Spin The Bottle, is a simple guitar lick growing as the lyrics pull the guitar along as we are asked to Spin The Bottle with Aaron and take a chance, the sun might shine tomorrow he sings. Slower blues test a guitarist and the slide and pull of the rhythm show that this is no challenge to a young confident musician stepping out on a road where a long and successful career beckons. Falling Again has a Stones whoo hoo and takes the heat down with the guitar shining once again.
The title track is strong, but then he has been playing it live at festivals and venues since it was penned three years ago and has changed on the road. With a Zeppelin feel and Aaron’s innate ability to not be tempted to cram as many notes into a second as possible. The slide zings and the rhythm swells out the lyrics that tell a story. This track like the whole album shows a young guitar player that demands a wider audience with a crossover appeal emulating the rock n’ Roll heroes of the sixties and seventies!
Youthful Guitarist Aaron Keylock is a Cut Against The Grain. This is the debut album on a musical career that Aaron at eighteen has the potential to shape and reach the heights he has the desire, drive and latent talent to reach. Cut Against the Grain, is a studio album showcasing the guitar skills of a young man who understands what makes Rock N Roll stand out from the crowd and make people listen. Personally, as I said at the beginning the jury is out but Cut Against The Grain is a solid footstep on the road to producing a sound that defines now without losing the retro and Keylock himself. Youthful Guitarist Aaron Keylock is a Cut Against The Grain Definitely on to keep watching a listening where will Aaron’s music journey take us? Get Onboard now!
Opening with a raw driving beat with the signature slide cruising with a gritty determination across Ain’t No Judgement Day. Troy Redfern is a powerhouse of blues that forces you to look up listen and enjoy you are in for a ride full of swerves and fast exciting chords as you sit back and let Dirt Ritual Blues flow out of the speakers and connect with your musical radar.
Cold Light Of Day follows The Brave and the fortune of the album builds with a Southern-infused slide from Troy combined with his gravel tones as the words spit out in perfect harmony with the raw guitar and rhythm section. Jelly Roll opens with a cascading flow of notes with a Rock n’ Roll beat that gets the feet tapping and dancers dancing like the whole album the lyrics are strong and this is a welcome addition to Troy’s rollercoaster, driving the album. It the midst of the mayhem, Troy slows it down with a country whirl of the guitar with On The Skin, with the guitar reverberating in what feels like a vast open space; reflecting that many of the guitar parts were recorded in a World War Two water tower to capture the vast reverb that space has, with a 1958 Harmony Stratotone being the guitar of choice for 80% of the record.
With a harmonic of guitar strings, with a feel of early cowboy films, wide spaces and two antagonists as Revelator opens. Then the instruments are pulled in with Troy’s vocals and we are on a ride through biblical proportions.
The album is a welcome outing after the 2015 release of Backdoor Hoodoo. Stays true to the high-octane slide driven blues that Troy is renowned for. Pure Raw Blues with its mix of slide and boogie shows a musician maturing with stronger lyrics and a swagger of confidence from performing the material live. The album is anything but homespun despite being written, recorded and produced by Troy in his home studio in the Radnor hills up on the Welsh border. It is a recording with a live sound of a musician who believes in the music he and the band are creating. What band? – Why Troy Redfern who played Drums, Bass and Guitar this is a solo enterprise with a band’s heart. Troy is in total control. Must be Sign Of The Times… no not that one, a true Troy track. Closing with Walls Are Falling, we are left with one certainty, walls will not be collapsing around the raw blues the Troy plays, it will be the doors opening to welcome him in to perform live, raw and definitely a dangerous and exciting ride with Troy and his guitar.
Fifteen original tracks, raw as whisky straight from the still, kicking open the speaker to fill the void with blistering slide, gritty guitar and vocals that growl and spit out lyrics with and intensity that creates the fifteen track listening experience that is Dirt Blues Ritual. Make it your ritual to turn it up loud and play often.
The release of Stolen Hearts coinciding with April 2017 UK Tour. The perfect chance to hear Erja’s new music live. The album is the first album to be released since 2015’s “Live In London”, and the first studio album to be released since 2014’s Elmore James tribute “The Sky Is Crying.”
The UK Tour starts at the Square & Compass in Ilminster on Sunday 9th April finishing in Sheffield at on Saturday 15th, See Tour dates below.
Erja chose to record Stolen Hearts at Sonic Pump Studios in Helsinki. Erja’s vocals were recorded at State of the Ark Studios in London by multi-platinum selling engineer and producer Chris Kimsey, known for his contributions to classic Rolling Stones albums Sticky Fingers and Some Girls. Kimsey also mixed the album.
Expect to have your hearts stolen with the new album. as Erja flexes her blues muscles as we would expect. This album has more as she explores musical genres with influences country, Americana, funk, folk, prog, R&B, jazz and rock create an exciting album. The one certainty her trademark slide guitar blues is used with force to interconnect roots and its musical shoots together this is an adventure that Erja wants to share with you.
“Working with Erja was a revelation,” says Kimsey. “She has the ability to perform and write so many different kinds of songs, and her vocals and lyrics are powerful and they connect with listeners.”
Box Office: 0203 287 4994 or Book Online – HRHBlues
Booked your tickets now listen to 24 Angels from the forthcoming album Stolen Hearts
Fourth track of the Album, 24 Angels a song is about morality and forgiveness. While Erja wrote the lyrics she was thinking of death row, when the final judgement comes. How does the person feel while walking that last walk? Relief? Fear? Written in a more minor key and co-written with songwriter and guitarist Alan Darby. Last year I went to India to play some shows. During the slide solo I played an Indian scale with semitones, which gives the song a more of a mysterious vibe.
This is blues that resonate, who can rest a track with a yodel plus the whistles and bells added by Davey Curtis along with Slide guitar from Nick Phillips who are Auld Man’s Baccie. This is a duo steeped in blues that have the tasty flavor of Grandad’s baccie in a bent and dented old tin that has endured and tasted all of life’s twists and turns. Traditional blues with a bounce of rough and tumble that is reflected in the lyrics. There are hints of country and rag-time. The first seven tracks are self-penned flowing around the lyrics and the slippery greasy slide of the guitar. The tales are drenched in alcohol, salvation and travel – the heartstone of the blues.
The duo have been playing together for little over a year, and the debut album Resonating With The Blues encapsulates the closeness and mutual respect and understanding as they play to enhance the blues.
Opening with Moonshine Mama the tone is sent via a guitar that is sweet and drives the acoustic message along. Davey’s vocals are the perfect fit for this style of country blues. The addition of Rhiannon’s contrasting vocal tone works just fine! This is an acoustic album that also has the twist of humour so that this is not a miserable sitting on a porch dirge. The tracks have layers of interest lifting resonating the Blues above the mundane. Thanks in part to the added interest of instrumentation thanks to Nicks multi-instrumental talent and the harp from Jim Bullock.
As the album progresses the self-penned numbers have a modern feel rooted in tradition. Long Hard Road with a tinkling of blues and guitar that grinds out a slippery difficult path reflecting the title. My favourite of the self-penned start to the album is 51st, the lyrics are sound the guitar slips and slides and Rhiannon adds to the sad tale. The five covers are given the Auld Man Baccie treatment with some classic numbers bring the Resonating With The Blues to a stylish close.
Resonating With The Blues says Auld Man’s Baccie is an album that will be loved and treasured by everyone who loves acoustic, resonators, blues, lyrics that tell a story plus the yodelling In The Jailhouse!
Joining Nick Phillips (Slide Guitar) & Davey Curtis ( Vocals, Guitar, Mandolin Bells & Whistles)on the album
Jim Bullock Harmonica
Rhiannion Phillips – Backing Vocals
Bluesdoodles gives this CD SEVEN doodle paws out of TEN ….
1. Mama Moonshine (Auld Man’s Baccie)
2. Alcohol Blues (Auld Man’s Baccie)
3. Grant Me Salvation (Auld Man’s Baccie)
4. Long Hard Road (Auld Man’s Baccie)
5. 51st Time (Auld Man’s Baccie)
6. Baccie Blues (Auld Man’s Baccie)
7. Gather Up Your Oats (Auld Man’s Baccie)
8. Can’t Be Satisfied (Muddy Waters)
9. Champagne and Reefer (Muddy Waters)
10. In The Jailhouse (Jimmie Rodgers)
11. Sell My Monkey (Tampa Red)
12. Ain’t Nobodies Business (Taj Mahal)
Pontadarwe Arts Centre, with cabaret style tables all ready for the show, sadly, that meant for some of the crowd especially ‘ The Swansea Ladies’ limited room to get up and dance. The Spikedrivers started with Got My Ticket as the trio that bring their own special blending of the blues hit the ground running back in Wales among friends.
The interplay between the band members was as ever intuitive as they created medleys and harmonies that quivered, rose and ebbed away across the glorious auditorium of the Victorian theatre. Ben Tyzack’s sublime guitar work, is there a better slide player? Then adding percussion and bass from Constance Redgrave and completing the deep rootsy driven rhythms is Maurice McElroy. The Spikedrivers are a music powered collective that lays down the groove and swirls in the blues so that the music and lyrics reverberate across and auditorium or festival field – they are spellbindingly good. Tonight, was no different with John Henry from their superb album Live In London and their version of JJ Cale’s Call Me The Breeze. Tonight it was not Welsh language being celebrated but Potawatomi, Thunders Walking (jigwek bmosewat), a song exploring Constance’s heritage through her Mother’s people it is a prayer and song that is offered to soldiers everywhere and a fitting moment in the set for reflection on Remembrance weekend; a song and music drenched in emotion.
What a band they are – as the vocals duties swap and the guitars change the sounds are shaped to match the lyrics with pathos, laughter the lyrical colour and texture works with the flow of guitar and rhythms. Whether on Billie Holliday’s Billies Blues or Ghost Train Shuffle ending with a train whistle or Rooster Stopped Crowing with hairbrush driven washboard from Constance.
After a short break, it was time for Maurice to leave the shadows behind his drum kit and step up front for a pot and cahon display, it was great to see him looking fit again and back on stage with the band once again. Blues Train has guitar, pot and washboard, there are the unenlightened who say this is not blues OH! Yes it is! Instruments to have lyrics that tell a story to an earthy beats that is the heart of the blues. Maurice took on singing duties for Two Left Feet and we were all having fun. You do not have to go to the Southern States and the Delta for inspiration since their wonderful Blues to the River inspired by a visit to Burnham-On-Crouch and the river that flows into the Essex Delta.. The second set was a full-on musical tapestry with subtle contours, flashes of sparkling chords and highlights of scintillating slide guitar and the raw silk that was the rhythm that throbbed and gave the music its soul and textures. The encore was demanded as we all wanted them to play on into the night and Dust My Broom and No Expectations ended the show that left everyone with a smile on their face.
It really was great to see the Spikedrivers back in Wales tonight after a lengthy absence and they definitely didn’t disappoint with their Transatlantic Blues as everyone wanted to chat with Ben Constance and Maurice and they were happy to share their time with the audience.
With the wonderful album LIVE AT SOUTHERN GROUND Out now on CD, Vinyl & DL Read what Bluesdoodles said HERE this is just a snippet – “The whole album is as perfect as a sun ripened peach full of juicy musical snippets and lyrics that keep the music rooted in the blues”
Martin Harley is a supremely talented acoustic roots and blues guitarist, singer and songwriter with a burgeoning global reputation.
Live at Southern Ground, his eagerly anticipated new album, was recorded in Nashville in collaboration with Daniel Kimbro (Jerry Douglas, Larkin Poe) on upright bass.
As Martin explains “I wanted to make something representative of where I’m at musically at the moment with an album that reflects on the last year solo and duo touring. Daniel and I met in Knoxville through a mutual friend… he handed me his card which read… ‘alright guitar player… good upright bass player’ … an understatement on both parts!”
A mixture of retrospective solo and duo arrangements recorded during an afternoon at the esteemed Southern Ground studio in Nashville, Live at Southern Ground features Martin on Weissenborn… a traditional Hawaiian acoustic guitar played across the lap, resonators and archtops, and of course Daniel Kimbro on upright bass.
“It’s a simple, honest and direct album with no overdubs in a warm sounding room with some great microphones and two new friends playing a few songs over a cold beer or two” says Martin. “There’s a great feeling when you click with someone. It frees you up to experiment with the arrangement and the dynamic of a song.”
Live at Southern Ground follows on from Martin’s five previously acclaimed albums, most recently Mojo Fix in 2012. Along with many years of international touring and countless festivals Martin has built a strong international fan-base across the globe.
Renowned for his prowess as a slide guitarist, Martin is almost unique in the UK in his playing lap slide. During year-round worldwide touring he’s absorbed a plethora of diverse influences, honing his craft into the classic songwriting style he possesses today. Martin Harley · Solo UK Tour November-December 2015
Martin will be touring solo across the UK during November and December and a duo tour with Daniel is scheduled for March 2016.
Award-winning Finnish blues guitarist and vocalist Erja Lyytinen will embark on a 12-date UK tour starting inDarlington Blues Club on Friday October 2. Tickets are available from the venues and the official Erja Lyytinen website.
Erja was recently voted the Number 1Solo Artist and Number 1Live Album for her latest release “Live InLondon” in the Blues Matters Writer’s Poll 2015.
Erja’s UK tour dovetails the release of her latest album “Live In London”, recorded at London’s prestigious 100 Club.
Bluesdoodles love the album Live In London read what we said HERE then book your tickets to see her live.
This is an album the hits the speakers loud and running fast this is no chugging freight train of a sound it is a “Speedy Locomotive” as the words say on the opening track It Stacks; this is a blues song with a train theme that rocks with a driving full blown energy. That said the lyrics are not lost in the maelstrom of kicking guitar and can this momentum run throughout Backdoor Hoodoo or will the quality displayed in the first four minutes run out of steam? The album is a celebration of raw slide guitar. Mean and no backdoor gentleness this is playing for the twenty-first century as the guitar slides over the blues spectrum and the vocals sear with emotion bottled and spat out. This is a band that wants to set their mark as being contemporary; Troy’s vocal cadences growl with a distinctive range that melds with guitar, the rhythm section with Alex Bridge drumming and bassist Stuart McDonald gel together creating a whole sound that you want to listen to. Salvation the third track allows you to take a breather the paces slows but this is nothing pedestrian as you hear the tonal power of his voice and you certainly do not want saving from the music that is rocking good blues as What Goes Around demonstrates. The album is not dominated by slide the guitar howls as the six-strings reverberate the emotion that Troy pours in to the music on War Cry, it just connects to your music radar. As so often it seems that one of my favourite tracks on the album is the shortest, this is a cut down Lamb Of Zion Troy, and guitar full of flair and style and no place to hide. Contrasting with the title track that preceded it add the tonal texture and change to an album that needs to make a listener take notice. We are back flying down his trade mark helter-skelter break-neck speed playing with Back Home; that just doesn’t have the verve of other tracks perhaps it is just the train gathering up its energy. And the last four tracks are spot on as the album drives to the finale This Raging Heart that has twisted the blues with rock and created an industrial sound that will shock many and delight those who want music with attitude and something to say.
Bluesdoodles gives this CD EIGHT doodle paws out of TEN ….
1. It Stacks Fast
2. The Other Side
5. What Goes Around
6. War Cry
7. Backdoor Hoodoo
8. Lamb of Zion
9. Back Home
10. Running With Ghosts
12. Cold Day In Hell
13. This Raging Heart