King King Single Launches Countdown To Exile & Grace

King King Single Launches Countdown To Exile & Grace

King King Single Launches Countdown To Exile & Grace



Get That Friday Feeling, open your ears King King today have released the first single from their highly anticipated album Exile & Grace. There fourth studio album will be released by Manhaton Records on Friday 6th October. The growing legions of King King fans will be counting down the days as this will be  probably highlight of 2017 on the blues-rock scene.

Listen and revel in the glorious sound, tone and textures on (She Don’t) Gimme No Lovin’

The new single was mixed by Chris Sheldon (Foo Fighters, Feeder and Therapy).   The single is redolent with the power that belongs to King King as they had a harder rockier edge with the drums pulling out the beat crisp and clear as the bass of Lindsay adding the rhythmic stride. With the guitar purring and like  a crouching tiger builds the energy as the six-strings pounce out of the speaker grabbing your attention. Three mighty tonal layers are pulled together as Bob Fridzema  magic fingers caress the Hammond and weaves his sound through and around the melody. The foundation is rocking ready for the vocals of Alan Nimmo, the lyrics curl an dare coated in honey, This is the promise delivered in a single that Exile & Grace is going to be a mighty impressive album.

King King Single Launches Countdown To Exile & GraceKing King promises to deliver even more of a punch from King King, with killer songs performed with true passion by a fist tight line-up.

“Exile & Grace definitely has a rockier feel and sound to it,” says King King’s frontman Alan Nimmo. “We are following our influences from the Classic Rock genre, Bad Company, Whitesnake and Thunder. We really set out to challenge ourselves with this album. We’ve stepped up the quality of song writing and pushed ourselves physically in both performance and delivery!”


Bath, Forum                                                       Saturday 14 October
Birmingham, Town Hall                                Tuesday 17 October
London Shepherd’s Bush Empire              Wednesday 18 October
Sheffield, Leadmill                                         Thursday 19 October
Edinburgh Queen’s Hall                               Friday 20 October

King King are pleased to announce their biggest UK tour to date. The band will play a series of high-profile concerts, including London’s Shepherd’s Bush Empire on Wednesday 18th October. Tickets are available from the 24 Hour Box Office: 0844 478 0898 and from

Recorded at Superfly Studios, this is King King’s first album of new material since 2015’s multi-award winning “Reaching For The Light features the upcoming single “(She Don’t) Gimme No Lovin’”.


King Single Launches Countdown To Exile & Grace


KING KING – EXILE & GRACE October 2017 UK Tour

KING KING – EXILE & GRACE October 2017 UK Tour



King King are pleased to announce their biggest UK tour to date. The band will play a series of high-profile concerts, including London’s Shepherd’s Bush Empire on Wednesday 18th October. The tour supports the release of King King’s eagerly anticipated fourth studio album “Exile & Grace”, released on Friday 6th OctoberPlanet Rock will start an exclusive 48 hour ticket pre-sale on Planet Rock  – Wednesday 14th June. Tickets go on sale to the general public on Friday 16th June via the 24 Hour Box Office: 0844 478 0898 and can be ordered online from  The Gig Cartel 

KING KING – EXILE & GRACE October 2017 UK Tour

Tour Dates
TICKETS: Planet Rock or Gig Cartel

Bath, Forum                                                       Saturday 14 October
Birmingham, Town Hall                                Tuesday 17 October
London Shepherd’s Bush Empire              Wednesday 18 October
Sheffield, Leadmill                                         Thursday 19 October
Edinburgh Queen’s Hall                               Friday 20 October

KING KING – EXILE & GRACE October 2017 UK TourForthcoming Album Exile & Grace was recorded at Superfly Studios, the quartet’s first album of new material since 2015’s multi-award winning “Reaching For The Light features the upcoming single “(She Don’t) Give Me No Lovin’”.
The new single was mixed by Chris Sheldon (Foo Fighters, Feeder and Therapy) and is released on Friday 23rd June.

Says King King’s frontman and guitarist, Alan Nimmo, “Exile & Grace definitely has a rockier feel and sound to it. We are following our influences from the Classic Rock genre, Bad Company, Whitesnake and Thunder. We really set out to challenge ourselves with this album. We’ve stepped up the quality of songwriting and pushed ourselves physically in both performance and delivery!”

King King’s 2011 debut album “Take My Hand” was crowned Blues Album of the month in Classic Rock. Following this success, King King’s next album Standing in The Shadows was the highlight of Classic Rock Blues magazine’s Top 50 Albums of 2013. It’s no surprise then that King King won Best Album and Best Band at the 2012 and the 2014 British Blues Awards.

2015 saw the band fly even higher with the release of their “Reaching For The Light” album. King King were nominated for Best New Band at Classic Rock’s prestigious Roll of Honour and inducted into the British Blues Awards Hall of Fame for three consecutive Band wins.

King King have played in all corners of the globe. From the Mahindra Festival in Mumbai, India, to Ottawa Bluesfest in Canada, and numerous festivals throughout the whole of Europe. One of the highlights of 2016 was a UK arena tour with the mighty Thunder, which included playing to over 10,000 people at Wembley Arena and a sell-out headline show on home turf in Glasgow.

Their headlining tour in 2017 took them to mainland Europe and the UK. The band are back with a vengeance in October 2017 to perform songs from their new album “Exile & Grace.”
King King are widely recognised as the UK’s hottest rock blues band, the band continue to push the envelope by performing unforgettable live shows with first class musicianship.


King King live shows are a not to be missed event – this is what Bluesdoodles has said:- 

Artrix, Bromsgrove – Reaching For the Light, Bluesdoodles said ..album of platinum proportions…..  Tonight we heard tracks that prove a studio album sounds even better when the music is live and you can see, feel and hear up close and personal. King King the quartet that has a cascade of sounds with layers of tonal textures ……….with the sparkling vocals of Alan, he can whip up a frenzy, make you cry, laugh and definitely makes you want to get up and dance it is the infection that is King King live.

The Globe, Cardiff – Crazy, yes, the room went crazy with this perennial favourite. Then far too soon it was time for an encore Let Love In and another opportunity for Choir Globe to get involved.

City Hall, Salisbury – This is a night many will talk about do you remember when South African Dan Patlansky and then the mighty King King took Salisbury by a Blues storm. Yes, King King Reaching Spiraling Heights in Salisbury tonight.


KING KING – EXILE & GRACE October 2017 UK Tour




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?
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

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

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

Wayne Proctor talking Production House of Tone and King King

King King - Artrix - Nov 2015_0039l

Wayne Proctor talking about drumming, producing House of Tone and King King


BD: Firstly, a big doodles thank you for taking time out of his busy schedule to sit down and talk to Bluesdoodles about music and so much more.
We all unwrap that album, put on the stereo and listen, we love the sound, it often bringing back memories of a great night of live music. Have you ever wondered what goes into making the album you love to listen to?
Wayne Proctor is candidly unpacking the mystery of record making speaking as a musician, member of a band and a producer. Wayne has gathered up all these skills and more into a brand that is being recognised on many stylish albums as House of Tone.
The conversation flowed, starting off traditionally at the beginning and then… well read on to find out.


BD: Wayne have you always had the ambition to be a producer?

WP: Yes I think so, from a very young age. The drums were my third instrument I learnt, having started on the Piano at 4 and then progressing to guitar at 8. I could instinctively pick out singles on an album and recognize the best songs. I could hear the sound choices, the construction of parts and arrangement; the idiosyncratic production elements… just as an A&R man needs to when identifying a single to promote an album.

I have always been interested in production, starting from the first band I was in, where I was heavily involved in the arrangements of the songs, this was helped along by my dual knowledge of harmonics from playing the guitar and the rhythmic side of things from playing the drums. Producing was a logical step for me as part of my development as a musician. I wanted to have recorded what I could hear in the room and in my head so I needed to understand how producing and recording works. I realised I had a lot to learn, so with a mixture of teaching myself and observing the recording making process of albums I was making it all started to come together. My first time working with a world renowned producer was on Aynsley Lister’s self-titled album, his debut for RUF records that was produced by Jim Gaines. Jim has produced artists across many genres; this guy had won Grammy’s! I observed how he managed the session, the technical side of things and his people skills, I watched and listened to everything he said and did. I could see how he handled people and songs and what the engineer was doing.

BD: You have been really busy, how do you work with different artists sounds and styles

WP: Yes, It has got busier and busier thankfully, it’s great to work on different styles and work with different artists/bands, it really keeps things fresh and creative for me. Just recently I’ve worked on albums by Stevie Nimmo, Ben Poole, Red Butler and on a new album by Adam Norswothy. Adam’s is a more traditional song driven album and after working on the more blues-rock orientated material

I needed to make sure I came into Adam’s album with a blank canvas. Just like resetting a camera with white paper you need to reset yourself between each project. Luckily, I tend to be present from a very early stage in the recording process so I get to know what an artist can do, so you get excited about revisiting that artists musical character, it could be the voice, guitar playing, lyrics, melodies. I just do my best to find the heart of the artist or band and bring that more to the forefront, so the listener gets to see a much more potent version of that artist

BD: So what got you to take the leap to be a Producer

WP: Honestly? I got a bit sick of not hearing the quality on albums that I wanted to hear and that I knew an artist was capable of. Too many producers pressing record and getting the album done quickly for the record label, I understand budget plays a part but I do feel the quality of the content is compromised when an album Is recorded too quickly. When things are rushed you don’t maximize the potential that a song or album can have. I knew in the end the answer was to do it myself, and create a team of like-minded people with an overflow of ideas and a hunger for quality. I’ve been producing, mixing and engineering for just over a decade now, my first album I produced was for Sean Webster back in 2005. We had a great communication, (we have known each other since we were 12 years old, actually went to school together) and it just worked, that album was recorded at Superfly Studios or Bluewater Studios as it was known back then. I have travelled a long way since then creatively, my knowledge has really deepened and I have a much better understanding of how to make things work and solve problems when things aren’t working. Twenty-Six albums later and a bunch of singles and EP’s and any success I’m experiencing is just down to hard work, focusing on the details and establishing good communication between myself and the artist so there is mutual respect and understanding, so the artist knows you always have their best interests at heart.

BD: Once a song makes the Album is it farewell and on to the next?

WP: Yes usually but occasionally you get to revisit things, funnily enough I am coming to the end of re-mixing ‘Rush Hour’ from King King’s Reaching For The Light for a radio version. The new re-mix is for Planet Rock and it is sounding awesome… it makes me want to go back and re-do the whole “Reaching For The Light” album, it just highlights that producing and mixing is constantly a learning process. I have done a further six albums since “Reaching For The Light” and every album has taught me something new that I can being to the table the next time round. My hunger to improve and get better at what I do is pretty immense.

BD: What an experience touring with Thunder must have been

WP: Yes it was straight after King King’s visit to India to play the Mahindra blues Festival, which was an incredible experience. We landed in Gatwick after the India trip and drove straight to Nottingham’s Royal Concert Hall; it is extremely rare you get to experience so many amazing and special gigs in a row. Its been a fantastic reward for all the hard work we’ve been putting in, getting the Thunder tour was certainly a high point of what’s been happening for myself and the band. There is so much potential and so many new opportunities and doors opening for King King, it is beyond exciting.

BD: Now back to what do you, so what does Wayne Proctor bring to Production?

WP: Firstly, I like to give artists time and space to be creative, I work hard to build trust and try to break down their preciousness and preconceptions of how things “should” be and help make the music flow in a more organic way. Avenues of creativity need to be opened and kept open to build on an artists inherent natural talent, I want to push them above what they think they can do – see them blossom. To do this you need to make sure there is a good vibe and complete trust with the artist from the beginning. Albums take time, Ben Poole’s latest  “Time Has Come “ was three years in its gestation, lots of talking between myself, Ben and Alan Robinson (Manhaton Records) to formulize the album and get the right set of songs. It is not about going into the studio and pressing record straight away. An album needs to be worked on, developed, thought about and developed further. It makes such a difference to the end result. And when producer and artist are in complete trust at the start, ideas are free flowing, everyone feels comfortable. And of course as a producer you need to recognize how to get the best out of every artist you work with, find ways to make them feel at ease so the music flows out of them, give them an arena to overflow with ideas where all ideas are entertained

For me, pre-production is the key to how great an album can be, whether we have a few weeks or a month to prepare an album I always recommend some time gets spent on pre production. Working as House of Tone is all about trying out ideas, to find what does and doesn’t work, putting content with depth and meaning into the music. I have a very methodical brain so I am able to visualize the music and see how things can sit together and how that ultimately affects the end result. I am always pushing for all levels to be of a higher quality, the songwriting, the playing, the quality of recording, it’s about Investing time at all stages of the process. It’s vital you do this so you’re not just churning albums out like a factory line. The quality has to be maintained and kept at a super high level to really leave a musical legacy.

BD:I am sure people have heard the terms relating to stages of record production but many do not know what the differences are.

WP: Pre-Production: Is usually the artist/band and myself in a room shaping the songs, trying ideas out and seeing what sticks. Ideally you record this stage even if with just your phone, you listen back, tweek things, make more suggestions and develop the idea till it feels right. Pre-production is where the actual content of the music is first established and developed.

Record: The stage where everything that has been written gets recorded with confidence after all the pre production. You can track live as band and do overdubs, or you can build up from the drums and add each instrument. I tend to let the material dictate which recording approach is needed, in the end it’s all valid you just want the best way to make the songs sound the best. At the recording stage I like to get the sounds from the instruments as close to as they will be in the final mix, so its lots of moving microphones and auditioning sounds to make sure you’ve got some thing great and not just a generic sound. You want something you are excited about sound wise, getting great exciting performances gives you so much more to work with at the mix stage. It really is worth getting the musicians to dig deep and do that extra take to get that something special.

Mixing: The stage of clearing everything up so it can all be heard and you can pick out all the that has been recorded, so you’re getting all the details as a listener, so you can hear the vocalist breath, you can hear guitar to the left, keys to the right etc. Giving the music a balance and making the song feel like a journey of highs and lows. A mix should enhance all the hard work that has been done at the pre production and recording stages, enhance the dynamics make everything feel a lot more visceral.

Mastering: Is the final stage, It is giving the album a polish and a final sheen. It stage you make sure the volume and general EQ balance even across all the tracks has an even feel so nothing jumps out and things have a nice flow.


House of ToneBD: Tell us a bit about House Of Tone, Superfly Studios and Y Dream StudiosSuperfly

WP:  We are a complimentary package of production and studio. Half the recording gear in the Superfly Studio’s is mine and so it made sense to join resources with Andy Banfield owner of Superfly studios and to use this amazing space to record artists and then Y Dream Studio’s owned by Steve Wight is where the mixing takes place. So House of Tone Productions is the whole package: recording, production, mixing, mastering and artist development.


House of Tone is all about re-investing into the music scene/artists by giving the artist/band the opportunity and time to make their album something to be proud of. I want House Of Tone to be known as a quality brand across a wide range of genres. As soon as you see the House Of Tone Logo you know you are getting a quality artist, recording, production and mix where care has been taken to give you the most enjoyable listening experience you can have.

We must be hitting the mark as we had nominations for four albums at the British Blues Awards, Three for Bands and Two for solo artists. We are working hard to create a package that is easy for people to buy into whether it a band or solo artist. I really want artists and bands to House Of Tone as a brand of choice that they know they will get a superior quality album at the end of the creative process. In addition to album production, we can create websites, shoot videos, deliver creative artwork and artist development. We are creating a whole atmosphere. The artwork has to be as just good as the music. I studied graphic design before I went professional as a musician. I’ve actually just finished the artwork on the new Ben Poole album, it was a collaborative effort between producer, artist, label and management, all working towards a high quality end result. I really believe House of Tone can provide the full artist package.


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


Drums: will definitely have two out of these three depending on style of the track –

Jeff Porcaro (Toto) – John Bonham (Led Zepplin) – Phil Collins (Genesis) – Steve Jordan (Eric Clapton)

Bass: Lee Sklaar (James Taylor, Phil Collins) John Paul Jones (led Zeppelin) Pino Palladino, Jaco Pastorious (Weather Report, Joni Mitchell)

Guitar: Steve Lukather (Toto) Scott Mckeon

Singer: Phil Collins (Genesis) Peter Gabriel, Jeff Buckley

Keys: Billy Preston

From a lyric and melody point of view it would have to be John Lennon, Jeff Buckley and James Taylor.

Bluesdoodles has been delighted to review Albums produced by Wayne Proctor, House of Tone, Superfly Studio combination.

King King – Reaching for The Light – Read More HERE
Stevie Nimmo – The Sky Won’t Fall – Read More HERE
Ben Poole – Time Has Definitely Come – Read More HERE
Adam Norsworthy – Rainbird – Read More HERE

Adam Norsworthy singer-songwriter Showcasing Soaring Rainbird

Adam Norsworthy singer-songwriter Showcasing Soaring Rainbird

Adam Norsworthy singer-songwriter Showcasing Soaring  Rainbird

This is an album that shines a new light on the talents of Adam Norsworthy, for many the front man of The Mustangs.  Rainbird is a collection of thirteen tracks that have a purity and shine as emotions and personal interactions are explored. This is not a man, guitar and angst singer-songwriter type of album it has an energy and driving purpose. Why? Adam’s guitar and vocals are joined by King King’s Wayne Proctor on Drums and on Hammond organ Bob Fridzema. Joining them to keep the rhythm in check is Nimmo Brothers Bassist Mat Beable then the searing beauty of acclaimed violinist Anna Brigham. The album’s production by Adam and mixing by Wayne and Steve Wright ensure that the songs remain centre stage at all times centre.

Take thirteen self-penned numbers, mix up the tempo and the colours of the music tones and sprinkle liberally with infectious beats. Marinade in a rich mix of lyrics with relevance and something to tell you. Then shake, rattle and roll all the ingredients together and you have Rainbird never captured in a genre flying high and free.

Opening with Leave a Light you instantly know the journey is going to be one of interest with the sonic distortion and then a driving Rock n Roll beat that furls around whilst your musical light is switched on and shining bright. Every track is different, buy the album and explore. I’d Rather Spend My Time With You, is slower, reflective as the deepest pool, the exploration of the lyrics are expressive with Adam’s warm vocals adding another layer of texture and mystery to this beguiling number.  Then out from the shadowy glade and back into the sunshine Rainbird brings you a happy sunny song Da Vinci’s Eyes, with driving drums and guitar that is the perfect punctuation for the lyrical poem. If you fancy to up the tempo and Shores of Heaven with a heavier beat and the feel of crashing waves and distant memories of folk tunes combined with clash of Bowie and Petty with the dominate drive of Norsworthy is for you. The Stradivarius Tree, has a gentle melodic classical feel, as Adam sings about the violin maker a true storytelling lyrical poem, music at the very soul of this song.  A clever track that is full of magic and of course the beauty of Anna’s violin sears through the story where magic, nature, artisan skills combine to create the violin to make music.  We are off to a land of country folk with Corner of Rosedale and toe tapping dancing round the maypole style of song that makes you smile. The lyrics are redolent of happy times of youth and carefree days.

The piano is used to add a solemnity and seriousness to the closing track Just A Weary Soldier, a timeless song of reflection and melancholy relevant today and all our yesterdays.

As the album is listened to you hear and glimpse influences and styles. Above all Rainbird is true to the work Adam wants to create as sound that connects as the instrumentation works around the lyrics unfurling emotions, contemplations and above all a connectivity through the music.

This is Adam’s second solo album for Trapeze with a has a special dimension. Adam Norsworthy singer-songwriter showcasing Soaring Rainbird, has created an album that will be a go to album and is another success from the recording studio Superfly. Rainbird screams quality from the first note to the last, great thought has been given to tone and shape and how the album looks and feels. Attention to detail is the driving force including the album cover’s photograph from photographer Nigel Davies captures the heart of the album.

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


Adam Norsworthy – Rainbird – Trapeze Music – out 24th March 2016

Track Listing

  1. Leave A Light On
  2. No Point Talking
  3. I’d Rather Spend My Time With You
  4. Da Vinci’s Eyes
  5. Something to Say
  6. Shores Of Heaven
  7. A Night In The Bolney
  8. Ready For Me
  9. She Didn’t Want To Know
  10. The Stradivarius Tree
  11. Corner Of Rosedale
  12. Loving Could Be So Easy
  13. Just A Weary Soldier

Time Has Definitely Come for Ben Poole

Time Has Definitely Come for Ben Poole

Time Has Definitely Come for Ben Poole



Ben Poole is a guitarist who has been on the radar of many within the U.K./European Blues circuit for a while with his fan base loyal and growing. His latest album out on Manhaton Records on 1st April is no April’s Fools, it is the piece of the jigsaw that will raise Ben’s authority as a great guitarist. Yes – Time Has Come for Ben Poole.

The guitar is thrilling, from the beginning and like any opening track Lying To Me hooks you into the blues ambiance that will get you excited and want to hear more of what this exciting guitarist has to offer over the next ten tracks. Does it disappoint… No it does not opening with feisty power the tone builds the layers thicken and the turmoil of love seeps through the DNA of Time Has Come.

As Ben says “This album has a really nice overview of my style”. Ben’s style may be drenched in the blues but not drowning in the genre. Into the mix across the album is rock, soul and then the spicy twist of funk and soul. Time Has Come has a universal appeal with its depth of flavor and musical reach.  The addition of three wonderful guitarist that understand contemporary blues Aynsley Lister, Todd Sharpville and Henrik Freischlader,  and then the organ chords  courtesy of Dutchman Bob Fridzema adding a raw edge plus those instantly recognisable backing vocals of Stevie Nimmo this is a ten track phenomenon.  This addition of four blues giants adds to the depth of tone and shape making this studio album stand out and yet still retaining the integrity of Ben’s live performance. The rhythm section throughout is the perfect stable and deep platform of sound whichever combination. On the majority of tracks Wayne Proctor and bassist Steve Amadeo or on two songs from Ben’s band bassist Matt Beable and Craig  Bacon’s drumming.

Three tracks in and there is a change of direction a laid back, gentler number Longing For A Woman with the  inspired combination of acoustic delicacy and electric fire. This is a track where once again guitars are given their freedom to soar. Blues that is free like the clearest of clear blue sky, the horizon is pure and open and the heart of blues guitar can fly.

Ben’s vocals throughout grind out sometimes gently other times full of hope and hurt the emotional turmoil of love. They bring expressive intelligence to the lyrics as Ben shares his experiences of love from deep within his heart and soul. BUT it is the emotion in the six-strings that really shape, bend and tear at your heart-strings creating a deep electric blues vibe.

Half way through and the antonym to the title Time Might Never Come appears and forms part of his live act and always pleases. This rendition has a new expressive feel the drums pound out the undercurrents and Time Might Never Come is explored. The vocals and long chords from the organ are filled with anguish of loneliness as Ben sings “tomorrow will be to late… Time Might Never Come”. The guitar lead break is bitter sweet and churns around your emotional mood; once again on this album it is Ben’s personal connection with the listener that adds a deeply personal touch.  No wonder Ben has been dubbed as f*cking amazing by Jeff Beck with the spell-binding lead breaks throughout the album.

There are lighter moments on the album Stay At Mine and Just When You Thought it was Safe with an up-tempo beat that makes the feet tap and the guitar tone lightens and shapes the musical journey.  Closing with Question Why the blues is full on and sweet. There certainly is no Question Why, the Time Has Come for Ben Poole.

The time has definitely arrived for Ben Poole. His guitar playing and lyrics have gained a self-determination thanks to Andy Banfield’s skilled engineering and the production vision of Wayne Proctor (King King’s Drummer) and into the mixing Steve Wright. They have combined to unfetter Ben’s inhibitions and capture the essence of this young man’s power as a blues guitarist extraordinaire.  Superfly have captured, distilled and shaped the substance that is Ben live in a studio setting.  Superfly Studios, have unleashed a blues guitarist of monstrous proportions whose time has truly come.


Currently On tour with Stevie Nimmo – dates below.

Bluesdoodles gives this CD TEN pawprint half inchdoodle paws out of TEN ….
Ben Poole Time Has Come Manhaton Records Release Date 1st April

Track Listing

  1. Lying To Me
  2. I Think I Love You Too Much
  3. Longing For A Woman
  4. If You Want To Play With My Heart
  5. Time Might Never Come
  6. Stay At Mine
  7. You’ve Changed
  8. Just When You Thought It Was Safe
  9. Whoever Invented Love
  10. The Question Why

Stevie Nimmo Ben Poole