Catfish Keith is keeping the vintage vibe, but making it new and alive.

“The real acoustic blues king” Rock ‘n’ Reel

Catfish Keith is a wonderful guitarist and a fine exponent of acoustic blues. With his resonator and vintage-sounding guitars, and a fine ear for wheedling out old blues and folk tunes that he can re-work for a modern audience, he’s been entertaining people all round the world for nearly forty years. He’s been nominated for Grammys and Blues Music Awards on a number of occasions, has headlined major music festivals, and appeared with legendary artists like John Lee Hooker, Ray Charles, Robert Cray, Koko Taylor, Taj Mahal, Jessie Mae Hemphill, and Johnny Shines.

His latest album, Catfish Crawl, is a wonderful eclectic mix of material from Big Bill Broonzy, Blind Blake, Furry Lewis, Johnny Shines, Jessie Mae Hemphill, the Carter Family, the Nassau String Band and others, as well as some original material. It’s great fun, the guitar work is outstanding and Keith’s arrangements of the songs are masterful. Check it out, you’ll enjoy it!

We were delighted to get the chance to chat to Keith and ask him about the album and his life in music. First of all, I had to ask – where did the name Catfish Keith come from?

“Well,” he told me, “I got called that when I was a young fella. For a brief period of time, I lived on a sailboat in the Virgin Islands. I’d just left home and I’d never really seen the ocean before, but I had a friend who had a sailboat and he let me crew on it. So I was down there, living on the boat and we used to go fishing with this guy and he would say, “Hey man, you are nothing but a catfish swimming around.” I had no idea what he was talking about, but every time I’d see him, he’d say that.

“So, a handful of years goes by, and the time came for me, when I was maybe 22, to do my very first album. Using my given name, (Keith Daniel Kozacik) proved to be very cumbersome and people didn’t know how to spell it. So, I thought, well, if I’m going to change my name now is the time to do it. So I decided to go with Catfish Keith, because, you know, it kinda made me part of the blues animal kingdom! Now some people call me Cat and some just call me Fish!

What’s more, Keith told me, the song Catfish Blues, had been very formative for him. The song has been recorded by many artists over the years, including Honeyboy Edwards and Muddy Waters but it was Robert Petway’s original version, recorded in 1941, that had really turned him on to the sound of the National guitar, making him want to play a resonator.

I asked Keith about Catfish Crawl, his 18th album, which I’ve been listening to and enjoying enormously.

“I recorded it at a place called Flat Black Studios, which is not far away from where I live, run by a guy named Luke Tweedy and it’s just a nice place to record. It’s an old converted barn and I’ve gone there for about five or six of my albums. I think I took nine guitars – I have a lot of guitars! – and set them all up in the studio. And over the course of four or five days, I would go in for about three or four hours and record a handful of songs and I just kept at it until all the tracking was done and then we mastered it. The way I work, I’m well prepared when I go in the studio.

“I have 20 or 30 songs I could try. And then I go ahead and go through them. And if they don’t work after two or three or four cuts, I just move on to the next one. And so pretty quickly it reveals if a song’s truly ready or not. I guess I used 13 songs on that album and I like to use a number of different guitars just to vary the sound. Some songs I’ll play slide guitar, usually on my baritone Nationals. And I play a lot of the little handmade guitars, including the Santa Cruz Catfish Special and guitars by Ralph Bown, who’s a British guitar builder.

“There’s a whole bunch of great luthiers that have made guitars for me kind of in a vintage style. People like Dale Fairbanks at Fairbanks Guitars, Tony Klassen at ARK New Era Guitars, and Todd Cambio at Fraulini Guitars And I really love those guitars and I love to showcase them. In Luke’s studio you get this wonderful, wonderful sound, and it’s really easy to work.

“From my repertoire maybe several months before I’m going to do a record I’ll list out fifty or a hundred songs that I love and I want to do. I’ve written some too, and I’ll spend two or three months before the studio date, just crafting and honing and practicing and working on songs. It’s all about kind of doing the homework, so when it’s time to record I’m ready to go. And that’s the way I’ve worked for years and years.

“Most of what I do is solo – that was always my vision for the music. The music I loved the most was the quirky, weird, beautiful treasure trove of songs where one person and an instrument could make all the sound, a complete and whole beautiful orchestra. Finger picking guitar and all the roots music, but heavily based in country blues. And of course, I also do songs from the Islands and I do some jazzy things, and songs that come from old time country and fiddle tunes, you know, kind of the whole full bag of American roots music. And that’s always really inspired me.”

Keith benefited from there being a lot of really gifted musicians and songwriters and old-time musicians in Iowa when he was growing up – people he could see performing live and learn from. Then, whenever he started playing professionally, he got the opportunity to tour all over the US, which gave him the chance to meet many of his heroes, first generation blues artists, like Johnny Shines, Homesick James and Honeyboy Edwards, who, although getting pretty old, were still alive. He got the opportunity to meet and play with the likes of Jessie Mae Hemphill, John Cephas and John Jackson and Henry Townsend.

“I’m 58 years old now but when I was young, in my early twenties, quite a few of those old guys were still around. I didn’t realize it at the time, but I was very, very lucky to have that direct link and friendship. And get to know the culture of it, as well as just learning music from old records. So, that really brought it to life and made the music even more real and more important. Those musicians are like my musical grandparents. But then there are also those that are one generation older than me, whom I’ve known and learned from – like Dave Van Ronk, Paul Geremiah, John Hammond and Roy Bookbinder. These are all guys that I still know, and we’re still good friends. And they were huge influences as to how you get out there and actually take the music to the world.”

What, I wondered, drew him to the blues and the sort of traditional music that he plays?

“Well, you know, when I was a real little kid my mom had records in the house and I remember we had a Leadbelly record and we had Odetta and Joni Mitchell and Johnny Cash and Gordon Lightfoot, Joan Baez, stuff like that. My mom liked to collect records and she loved folk music and the blues. So that was when I first heard it when I was a little kid. And then when I was about 12 and started playing, there were quite a lot of people playing acoustic guitar especially at summer camp, and there were camp counsellors who would play guitars and sing all these songs by the campfire.

“And then I used to go to folk mass or hippy mass in my Catholic church back in the ’70s. And once they found out that I liked playing guitar they got me playing in the church band. I barely knew any chords, but they put me right on stage. And we’d play songs for all the parts of the mass, you know, the Amen and all that. So when I was coming of age, there were a lot of acoustic guitars around being played. And that made me start to teach myself guitar. And I just love the sound of acoustic guitar.”

Catfish Keith, Johnny Shines, Madcat Ruth 1987

Listen to any Catfish Keith albums and you’ll pretty quickly realize what a jaw-droppingly good guitar player he is, finger-picking complex patterns and sounding like there are about three guitars in play rather than just one. That was what attracted him to the acoustic guitar – hearing the complexity of players like Paul Simon, then Leo Kottle and John Fahey. Listening to this sort of stuff as a teenager was what drew him in, rather than the pop songs his class mates were listening to. He was much more attracted to the music of James Taylor, Jim Croce, Simon and Garfunkel. Anything, really that featured acoustic guitar.

“But when I started hearing these old blues, it really grabbed me and I was inspired to not only learn the guitar, but, sing as well and make the whole world of music and really that’s what’s fuelled me ever since.”

As he listened to all these great acoustic guitar players, Keith began to wonder where did they got their music.

“I always had that kind of bookish curiosity. I loved going to the library as a kid – I’d find books about country blues, like the Samuel Charters book, and I found pictures of Charlie Patton and Blind Blake. So I just sort of started studying. And the libraries had the old records too. They had Blind Blake records and Fred McDowell and Memphis Minnie, and all those wonderful country blues. So, I would check those out and study them.

“I would befriend blues record collectors and go to their houses and ask them to play the blues records so I could record them on my boombox on cassette tape. Then I’d study the recordings. I loved the music and I felt like I was finding a hidden treasure.”

Once he began to discover all this great music, Keith began to practice incessantly. Malcolm Gladwell says it takes at least 10,000 hours practise to get professionally good at something. Keith says he’s put in hundreds of thousands of hours, just playing all the time as a young man. And he still does:

“I still play guitar a lot. I can leave it by for a while, but then I’ll go and play for hours and just enjoy taking the journey with the guitar. I do what I called daydream guitar play. I’ll just lay in the bed with the guitar and I won’t even think of anything in particular. I’ll just pick the guitar up and start playing and see what happens. And sometimes I’ll make a whole new song and sometimes I’ll just play and enjoy whatever journey I’m on until I have to get up and walk around.”

Keith has a unique sound, honed over many years, which is a result of his superb guitar chops, his in-depth knowledge of the musical canon and by the way in which he approaches re-interpreting an old song – he doesn’t just copy the way a song has been performed but he first internalizes it, allows it to become part of him before he begins to arrange it in a way that keeps the vintage vibe, but makes it sound new and alive.

I went on to ask Keith about something I’d noticed in Catfish Crawl, that I thought was a bit unusual. Here and there, you hear him using harmonics, which is not something that you often hear in country blues playing. But it adds something pretty nice to some of the songs.

“Yeah, you don’t really hear it within country blues. I listened to a lot of kinds of guitar playing and when I was a young man I heard a jazz guitar soloist playing in a lounge, and he would do all these finger style sort of standards. And then all of a sudden, he’d do a whole chorus that was in just in harmonics. And when I saw him, it just made my hair stand up. It made me realize if I could get some of that sound that I would extend the range of the guitar and it could stretch the possibility of the sounds, you can add colours and textures.

“So I took some of his technique. And there are other jazz players like Lenny Breau who had his own harmonics sound. And then, you hear it in rock and roll guys like Eddie Van Halen. It’s different, it’s more frenetic and it’s all electric guitar, but it’s the same technique. And harmonics were also used in Hawaiian music for lap style playing. I studied hard on all those harmonics, just so I could add some different colours to what I was doing. So I could take a really simple melody, and then if I want to, I can play the entire thing in harmonics, or I can add little skanky harmonic notes that add a little texture in the middle of a song.”

Catfish’s Nationals

Keith has been a endorser of National Reso-phonic guitars since the 1990s and has recently had a signature guitar made by Santa Cruz. I was keen to hear about his guitars. First he told me about Nationals:

“Well, it’s a very distinctive sound, a beautiful voice that really occupies sort of a cultural place. Nationals really captured my imagination when I heard the Hawaiian guys, like Sol Hoopii, who plays lap style and tricones, and then Son House and Blind boy Fuller and Booker White. But I have to credit Son house. When I was a teenager and I was into finger picking, I was already finger-picking pretty good. But then I found a Son House record – the Father of Folk Blues record he did in 1965.

“I got it in the cutout section of the record store. I don’t know if you remember that record stores had this section where the records were cheaper and they had the corners of the cover snipped off. The records were half price or a third of the price. And there were always some real treasures in the cutout bin. The Son House record was one of those records where I put it on and I was like, wow, what is that? And then I had to listen to it again because it really sorta threw me. It was like this sort of drunken banjo and garbage can sound together, and it really went with his moaning voice and it was very deep.

“And the poetry of some of those songs…He did a song called Death Letter, and one of the lines was, “It looked like 10,000 was down in the burying ground, I didn’t know I loved her until they laid her down.” You’re only 15 and you’re hearing this stuff! It was so heavy and unforgettable. It would draw me in and the sound of the slide was like the sound of a human voice. So I guess all those things are what drew me to the sound of National guitar. And I use a whole bunch of them a bunch of different ways, but it’s really part of what I do.”

Then there’s the Catfish Special from the Santa Cruz Guitar Company, based in…yes, you’ve guessed it…Santa Cruz, California. Keith told me he’d meet the Santa Cruz people at the big annual guitar show, NAMM, in Los Angeles, when he was helping at the National booth. In due course they offered to do a signature model and asked him about the specification.

“I was hypnotized by these little, all-mahogany guitars that they made, so I said, let’s try a mahogany guitar. Richard Hoover, the head honcho and guru took me through his own wood pile at his factory and showed me this one kind of mahogany from Guatemala and it had this sort of shimmering figure to it. That was it. And I think the guitar fits a funny little niche. So they made this guitar for me as my signature model and got Catfish inlaid on the peghead, and little bubbles inlaid on the fingerboard, so it’s fun to look at as well as really fun to play. And it’s probably the finest instrument I’ve ever had.

“And you know, as you play an acoustic guitar the tone gets better and better. I feel so lucky that I was able to get with Santa Cruz and I’m so charmed by everything that they do. It’s just a wonderful company.” [Check out the Catfish Special here.]

We’d had a great conversation and could’ve chatted on much longer, but I wanted to know finally about how the pandemic is affecting things for Keith, Clearly live performances are out for the time being.

“Yeah. Unless your audience is standing out in the field! But all the venues where people sit right next to each other, which is almost all of them – that model might take a while to come back. And a lot of those venues are gonna probably fold. There’s a place here in Iowa city that I play in, it’s been there for 58 years and they finally had to throw in the towel two or three months ago.  It was really the nexus of folk music and alternative rock and all kinds of stuff in the heart of Iowa city. It’s hard to imagine the town without that place, it’s been such a part of the culture of the town. I think there’s a lot of places where the same thing is happening all over the world. I don’t know how we come back from that.

Keith went on to talk about his love for performing and the loss that has been.

“I really didn’t realize how much I love it, traveling all over the world. It didn’t have to be 300 gigs a year, but it was certainly a hundred plus, and we would always go to the UK and Ireland, Europe and all over the USA. But this March, everything died as far as that goes and I’ve had to cancel and reschedule things two or three times. So yeah, it’s been difficult. We would have done my 50^th and 51st overseas tours this year had we had played. It was going to be my best year ever. But like with everybody, things got postponed. We’ll see what happens next year, here’s hoping.”

For artists and venues alike, these are difficult times for sure. We can all just hope that we get to the point where people like Catfish Keith can get to safely perform and entertain us again before long.

Happily for Keith, he has his wife Penny beside him as his manager, sound engineer, and President of their label, Fish Tail Records. “She’s been right by my side through all of this, since day one. It’s not just me. It’s the both of us, that make the band. She knows how to make the music sound powerful and big, and she knows what is right. She is a lot smarter than me, and we do this journey together. I love her with all my heart, and none of this would be possible without her.”

Now – go buy Catfish Crawl!

Nepal’s Prakash Slim has been living the blues

Prakash Slim is a country blues musician and educator based in…wait for it…Nepal. His remarkable story is straight out of the history of the blues.

He was born in 1980 during the rainy season in a field in the small village of Lamatar, just south-east of Kathmandu in Nepal. Nepal is a country of 28m people, situated between India to the south and China to the north. It has eight of the world’s highest mountains, including Everest and a very ancient culture.

Prakash’s village saw its first electric bulb in 1983 and its first automobile in 1995. Although Nepal is now one of the fastest growing economies in the world, much of the country remains very poor – around one third of the population lives on under $3.20 a day and the GDP is only around $30bn (compare that to South Korea, with a similarly sized population and a GDP of $1.6tr.)

Prakash’s father passed away at a young age, leaving his mother to provide for three children by working in a neighbour’s field. Food and clothing was scarce and the annual festival was much anticipated by Prakash, when an uncle would gift him a set of new clothes. Life was tough.

So, perhaps it’s no wonder that Prakash has gravitated towards the blues. He’s lived the blues, growing up in a rural village with significant hardships, and the road to the future paved with considerable difficulties.

After becoming an accomplished guitarist and playing in a number of bands in Nepal’s lively rock scene, Prakash has become an acoustic bluesman, with Robert Johnson and Mississippi John Hurt as his guiding lights. He’s now a recognized, internationally affiliated Artist/Performer and Educator of the Blues with the Mt. Zion Memorial Fund in Mississippi.

The recent lockdowns because of the pandemic have enabled Prakash to play in a number of international blues events, so we were delighted at Down at the Crossroads to have the opportunity to chat to him:

Gary: For someone born in rural Nepal to become a blues artist sounds like an amazing story. Tell us briefly how you first started playing the guitar and how did you get started performing.

Prakash: Well, I was raised by a loving, loyal family but we had very limited means. I went to a public school where, instead of desks and benches, we had mats made of straw. When I was young the only ambition I had was survival. Ambition, as far as I was concerned, was a privilege for rich kids.

I was interested in music from a young age. I’d play music by drumming against a water container and sing songs all day.  Music drew me in. My most prized possession back then was a bicycle that my sister gave me after she landed a job. Now I wanted to learn and play the guitar but I didn’t have the money to buy one, so I sold my bicycle to buy my first guitar. I told my family that a friend had taken it for a few days! But anyway, I got the guitar and started playing.

For two years, I searched for a mentor who could teach me everything I needed to know about music theory. Finally I found a teacher, and even though he lived 10 kms away from my home, my passion for music was so great that I never missed a lesson. Come storm or rain, I always arrived ahead of time and ready to learn.

I worked hard at my music for a number of years and was able to join my mentor, the legendary C.B. Chhetri’s band and gigged in a circuit of restaurants playing mostly rock music. I kept busy playing lead and rhythm guitar and bass, and doing vocals for various bands throughout Nepal.

Gary: Given your background, growing up with very little, is there a particular resonance for you with the blues, in their original setting in the struggles of black Americans?

Prakash: There are a lot of differences between African Americans and me, but, it’s true, we faced difficulties in life like education, economic depression, and discrimination. So many of the social issues are similar.

Gary: What blues artists did you first encounter, and which ones are important to you?

Prakash: I liked to listen to Jimi Hendrix, Eric Clapton and many other rock blues artists.  For over 12 years I played in rock bands and I’ve tried to give the songs I play an urban blues feel. When I first heard B.B. King’s recordings I was eager to learn the magical intervals: sixths, ninths, major and minor thirds. I wanted to learn his bee-sting vibrato technique. Then when I heard the country blues artists like Charley Patton, Robert Johnson, Bukka White, Son House, Mississippi John Hurt, Blind Blake, Mississippi Fred McDowell, and many others, I knew this was the style that most spoke to my heart. So, now these country blues legends are the most important to me.

Gary: Has where you live been an advantage or disadvantage in pursing your art?

Prakash: Well, that’s an interesting question! My life experiences, including my hardships and struggles, are reflected in my music. I really want to express my experiences and feelings through the blues. But then, the limited access I have to instruments, equipment, sheet music and online music other than YouTube is a real disadvantage for me.

Gary: What sort of interest in blues music do you find in Nepal? Is there any resistance to it as Western music? Is it confined to Kathmandu?

Prakash: Well, we have a history in Nepal of the blues that goes back three decades, so I don’t think there’s any real resistance to the blues as western music. Some well-known blues bands are still active. People are interested in the blues but most people think that the blues start with B.B. King and Eric Clapton. Very few people know country blues, all the early stuff which is root of the modern music. Blues in Nepal, for sure, is centred in the capital and major cities and really, we have very few platforms and venues for the blues.

Gary: Are you able to make a living with your music?

Prakash: It’s very hard to survive as a musician in Nepal. It’s difficult to convince people how important music is for all ages and walks of life. For musicians of all genres, of course we have some pubs, restaurants and hotels to play. But for me, there is not much of a platform as a country bluesman.

Gary: How did you get your nickname, Prakash Slim? That’s a very cool blues name!

Prakash: Well, when I finished some serious blues research funded by the Mount Zion Memorial Fund in Mississippi, Dr. T. DeWayne Moore gave me the name. Prakash “Slim” Papa Pokharel. But when I got some international platforms, many friends suggested that I go for something shorter so we settled on Prakash Slim – “Prakash” represents Nepal and “Slim” represents the land where the blues began.

Gary: Tell us about your work in promoting blues music in schools.

Prakash: Well, blues is not only the music but also a culture. Without knowing its history, blues would be incomplete. We can empower and educate people through the blues. Knowing about the blues helps race relations and makes aware people of social issues. I’ve been teaching blues in schools here for some time now. My students know very little about black communities in the US and the problems they faced. I teach them that blues is an experience of life. I also teach them to play instruments and how to write song lyrics. I’m very happy that some of the students from grade three and four have now started playing slide as well! This year I did a blues exhibition in one of my schools. So, blues education is very important and I feel proud to be a part of it.

Gary: You recently collaborated with a friend of mine, Fabrizio Poggi in Italy. Tell us about that. [catch our recent chat with Fabrizio here]

Prakash: Well, Fabrizio Poggi is a renown Italian blues harmonica player and Grammy nominee. He and his wife Angelina and I connected as friends when I did an interview for Blues Radio International. Both of them are great human beings!

After talking for few days, Angelina said to me, “Why don’t you and Fabrizio do something together? I really would love to see you playing together. It would be a great message of hope for the world. A musician from Nepal and another from Italy? Why not? The coronavirus won’t let us leave our homes but we can travel all over the world through music.”

So, I was very excited and happy to do play with a legendary blues artist. I asked if we could do a favourite number of mine, a Robert Johnson song. I will always be grateful to Fabrizio and Angelina for this opportunity.

Gary: Prakash, tell us about your ambitions and hopes for the future.

Prakash: I really want to establish myself as an acoustic bluesman. I hope one day to play the blues with a National guitar in Mississippi. I consider that the sacred land of the blues – the blues Mecca. I want to spread blues in every corner of the world.

Gary: How has the coronavirus pandemic affected Nepal and has it affected your music making?

Prakash: We are all living in different and strange times. Nepal was not much affected by the pandemic in April and May, but we now see the number of affected people and deaths starting to go up. So, of course, yes, it has affected my music making badly. Schools and colleges are closed and all the venues are too.

Gary: Thanks, Prakash. We wish you well in your music making and every success in the future. Hopefully we’ll hear a lot more from you!

Acoustic bluesman, Dom Martin: I play every gig like it’s my last.

“A rare talent of such sheer genius” Blues in Britain

Not so long ago, Dom Martin was busking in the streets of Belfast. Now he’s just won the Acoustic Act of the Year award at the UK Blues Awards, on the back of a well-acclaimed new album, Spain to Italy, a Radio 2 Blues Show session with Cerys Matthews, and a sell-out UK Tour along with appearances at major Irish/UK Festivals.

Dom is a skillful player of intricate blues-infused finger-picked guitar and is a fine singer in who invites comparisons with Rory Gallagher and John Martyn. Spain to Italy is a top notch album, delivered with passion and considerable musical aplomb by Dom and his band. It consists of mostly original numbers and a couple of blues covers and is a combination of finger-picked blues, blues-rock and just beautiful songs.

He’s an acoustic blues artist whose star is clearly in the ascendancy and Down at the Crossroads was delighted to have the opportunity to chat to Dom, who’s been sheltering in his home these past few weeks during the coronavirus lockdown.

Gary Dom, you’ve just won that Acoustic Blues Act of the Year in the UK Blues Awards. Presumably you’re quite pleased about that.  

Dom Well it’s a little bit of recognition. Just even to be nominated – there were three categories I was nominated in, and that to me was above and beyond. I couldn’t believe it. But it gives me great confidence that I’m heading in the right direction with my music. Like, there’s progress being made. To me, that means a lot.

Gary And you’d won a European Blues Award last year as well. Best Acoustic Solo Act?

Dom Yeah. That was a complete shock. Last August I was on tour and was pretty busy when I heard that I’d won something. So when I saw what it was for, I was like, wow, that’s amazing. How did that even happen?

Gary When you think about those awards, those categories. how would you categorize yourself and your music? Acoustic blues might describe it, but then when I’m listening to your album, there’s more than just blues there and there’s more than just acoustic as well.

Dom Yeah, it’s a really difficult question, actually. It’s hard to put a finger on it, but I would say, alternative blues, maybe alternative folk blues. But I really haven’t given it much thought, to be honest. Things just come to me in music, with the strings and the guitar. I just kind of sit down and figure out little bits and pieces and make songs out of them. But I wouldn’t call myself necessarily blues one hundred percent of the time.

I’ve obviously been heavily influenced by the blues. But I love Bob Dylan and all those folk types. John Martin, of course, and Neil Young. But they’ve all dabbled in the blues themselves. So, it’s hard to describe what my music is.

Gary But clearly, blues is a big part of what do you do. The blues have been drawing people in for the last hundred years or more. What is it about the blues that still draws people in, still draws you in?

Dom Well, I think it’s just the feeling I get from either listening to it or playing. The struggle you hear in other people’s songs. I can identify with that. And maybe that sounds strange, because I’m a fairly positive person. I don’t tend to write songs that are depressing or sad. I just like the vibe of it. I like writing songs in in a blues kind of way, but basically I’m a happy person.

Pop music – like Ed Sheeran and stuff like that – it’s kind of happy go lucky. You can dive in and out of it and it’s easy. But the blues, it can be difficult to listen to sometimes, but strangely, I get more a better feeling from listening to blues than I do from listening to happy songs.

Gary That’s the nature of the blues, isn’t it? There are two sides of it. There’s the singing about the difficulty and the hard times. But then it’s almost like the singer sings himself out of it. You know that old blues standard, Trouble in Mind. The singer is really depressed but then manages to say, “sun’s gonna shine in my back yard some day.”

Dom Definitely. But when I say to some people that I play the blues, they kind of shrug – “Oh, you don’t play that, do you? That’s so depressing and sad.”

Gary Now you’ve a couple of nice covers on the album, Leadbelly and Blind Blake, and when I was listening to you on the Green Room show at the weekend, there was a song that you were doing that was a minor key blues, and I thought, there are echoes of Skip James in that one. 

Dom You know, I haven’t listened to a lot of Skip James, although I do have some LPs. I’ve dipped in and out of in a lot of different artists, people like Robert Johnson and Howlin’ Wolf, but Skip James is one that I’ve yet to actually just sit down and really just get a couple of hours and really listen to the music.

But maybe on some kind of subconscious level, all that listening to music in the background does shape what I play and what I come up with. But I do try and be as original as I possibly can, because I don’t like plagiarism or anything like that. If I play somebody else’s song, I always say, this is a Robert Johnson song, or whatever, and make sure people are aware of who wrote it.

Gary Most of the songs on the album, though, are originals. So tell us a bit about writing songs and how long you’ve been doing that.

Dom Well, I started writing very young, but I don’t think it was very good! That said, I sold my first song when I was 13. I sold it to my dad for £13.50! And I’ve still got the contract somewhere! He bought the rights to the song. It was just something he drew up for a laugh.

Gary So you’ve been writing songs for quite a long time. What is the process like, does it come easily to you? Do you knock ’em out or do you have to refine them or what?

Dom That’s a difficult question to answer. I mean, you can’t really just say, OK, today I’m going to write a song. It doesn’t work like that for me. Take Easy Way Out for instance. I wrote it in five minutes when I woke up one morning and I didn’t have to change any of the words or the way it was sung. I wrote all the lyrics in five minutes – done!

And then I didn’t write anything for three or four months after that. I just couldn’t do it. I couldn’t think of anything, I wasn’t inspired by anything at all. So, it’s kind of like that, it comes and goes, and it’s strange and I don’t understand it and I have no knowledge about it. But one thing I try to avoid with songwriting is making everything rhyme! Sometimes I do it, but I’m very conflicted about it. But sometimes you just have to finish a song!

I’m incredibly hard on myself with songwriting. It typically takes me a very long time. The songs on the album weren’t written for an album. There was no deadline. It was just that I had written a handful of these songs and one day I decided to go to the studio and try and record them. And it was just really inexperienced, rushed, you know? Let’s just record something and see what happens.

Gary You must be pretty pleased with the reception the albums had. A lot of people have made fantastic comments about it.

Dom Yeah, honestly, I’m in shock. I’m in complete and utter shock about what’s been going on over the past two or three years. But I’m really critical of myself. I haven’t actually listened to the album back to front. I think once when it was finished, I listened to the individual songs, but not in any particular order. I’m happy with it, but I’ve moved on from it.

Gary Dom, give us a brief synopsis of your career. Things have obviously taken off over the last couple of years.

Dom So I used to live in Antrim in the north of Ireland. And I knew I could play guitar. I knew I could do gigs and play for four or five hours a night, So that’s what I did and that was all well and good. I met my wife there and we decided after a few years that we’d move to Belfast and I’d try to get some more gigs. So, we moved to the city but after going around to all the bars and festivals in Belfast, I got maybe one more gig. That was it – nobody would give me the time of day, I hadn’t two pennies to rub together – I still don’t! But for years it went on like that. I ended up busking in the city centre for a few quid to get something for the electric and gas.

Then out of the blue, Blast 106, one of the radio stations in Belfast, called. My drummer friend knew the guy who did the show, Big Chris. So we went down and played one of the songs which is now on the album, The Rain Came, and they recorded it. Before we played, it was all dance music, you know, rave music. And all of a sudden, we come on with our little folky blues and it’s just so bizarre.

What then happened was a guy called Ray Alexander heard this and we got a gig at an open mike night in Holywood Golf Club. So my drummer and I went, and we sat with other musicians having a talk and a couple of drinks, and we were due to be on last. But nobody was left when we got up to play – it’s late on a Monday night and everyone’s gone home! But we gave it our all, we don’t care, we’re gonna play some music!

Anyway, Ray recorded some of the stuff we did that night and he phoned Fenton Parsons, who is now my manager, and said, you got to check these guys out. Dom Martin can’t get any gigs. Could you help?  So Fenton went and found a video of our performance of The Rain Came from the radio show and he loved it and wanted to meet me and see what he could do for me. The guy’s an absolute legend. He helped me when nobody else would, so I owe him an awful lot. I’m very loyal to that man.

Gary So you’ve been getting a steady amount of gigs over the last year or so?

Dom Yeah. This past year, two years, I’ve been pretty much flat out. And I love it. I play every gig like it’s my last, give it my all.

Gary But I guess things have come to a bit of a standstill at the moment?

Dom Yes, but it’s all just gone online. I’m doing something about once a week and there are little festivals, online gigs and stuff. But apart from that, I’ve just been writing songs and trying to come up with some fresh material. So, whenever this is all over I’ve got something new to play.

Gary Very good. Now, tell me about the guitar work on the album – there’s quite a bit of electric guitar going on there. Is that all you?

Dom Yeah, it is. All the guitar on the album is me, apart from a little tiny bit on Luka I think. That was Richard Brown, who is very, very good. He did a bit on that and maybe one of the other songs, but everything else is me. I got my first electric guitar just four years ago, so I haven’t been playing electric guitar that long. But I don’t find it much different than acoustic. I play them both exactly the same. It doesn’t make a difference to me. It’s just a bit smaller and there’s no hole in the middle of it! And that’s about it.

Gary How did you get started playing the guitar and did you start young?

Dom Oh yeah. When I was born, my father picked me up and he held me over a guitar. And I was just kicking it and scratching it and hitting it, and it’s just been a whole lifelong thing. It’s all I’ve done my entire life.

Gary Is there music in your family then?

Dom My dad played. In fact, he was the best guitar player I’ve ever seen. He was great. He didn’t just play – he was like another thing altogether. It’s hard to explain. He just had this certain charisma about him. The way he played was so articulate and just, you know, perfect. I’ve never seen anything like it. It’s impossible to replicate. He was just a one of a kind of talent.

And my dad wrote these songs which I now have. And I’ve been trying to play them, but it’s still too difficult for me. It’s too hard because he’s passed on. And it’s just impossible for me to get into that, to play my dead father’s songs now. But I’ll get there with some of the songs. They’re just beautiful. But I can’t even touch them at the moment, you know?

Gary So sometime down the line, Dom, that could make for an interesting album.

Dom I know. Definitely, whenever I’m ready to do it. I’ve got the lyrics right now here in front of me and I’m just shaking as I look at them. But I believe in these songs, they need to be heard. Because they’re the most beautiful, beautiful things I’ve ever heard. I owe so much to my dad.

Gary Now, you’ve released a song to support the NHS. Tell us about that,

Dom I wrote a song called Mercy. And when the Corona virus hit, it was like there was no mercy for anybody. I’m not big on doing stuff technically but I felt we had to do something. But what could I do? Well, I do music, and so I thought, if I make a GoFundMe page where people can donate and then they get the song, I’ll just give all the money to the NHS. But at least it’s something, it’s better than just sitting around, even if it’s a small thing.

Gary Good for you, Dom. Brilliant. So have you just been playing your guitar and spending time with your family over the past few weeks?

Dom Yes. I’ve loved just spending time with my kids and my wife. A lot of people were joking at the start of this – you’ll be stuck at home with your family, it’s gonna be awful. But for me, it’s been the complete opposite. It’s just brilliant. It’s just been fantastic.

Gary Thanks, Dom. All the best for the future.

Blues in the Time of Corona #2

We’re picking a few songs to help keep our spirits up at this time of crisis in a series we’re calling Blues in the Time of Corona, borrowing a bit from the title of Gabriel García Márquez’s famous novel.

Today’s song is Keb’ Mo’s Life is Beautiful from his 2006 album, Suitcase. It reminds us that in all the chaos out there and the suffering of many people, there is still beauty in the world.

Life is beautiful, life is wondrous
Every star above shining just for us
Life is beautiful, on a stormy night
Somewhere in the world the sun is shining bright

It reminds me of something Anne Frank said in her diaries. Anne Frank was a thirteen-year-old girl in the Netherlands when her family was forced into hiding by the Nazis attempted extermination of the Jews. For two years they hid in the sealed-off upper rooms, concealed behind a movable bookcase, in a company building owned by a business partner of Anne’s father. Anne kept a diary of this time, before the family was eventually discovered and sent to the Bergen-Belsen concentration camp. Here’s what she wrote whilst in hiding:

“At such moments I don’t think about all the misery, but about the beauty that still remains. This is where Mother and I differ greatly. Her advice in the face of melancholy is: ‘Think about all the suffering in the world and be thankful you’re not part of it.’

My advice is: Try to recapture the happiness within yourself and God; think of all the beauty in yourself and in everything around you and be happy. I don’t think Mother’s advice can be right, because what are you supposed to do if you become part of the suffering? You’d be completely lost. On the contrary, beauty remains in the nature, sun, freedom and yourself. If you just look for it, you discover yourself and God, you will stand out.”

There is still beauty in the world. Let’s take the time to appreciate it.

Brooks Williams celebrates his career – but the best is yet to come

“He’s a lovely player, a lovely singer, and a great writer – the real thing.” Martin Simpson.

(Photo: Arlene Avery)

Hailing from Statesboro, Georgia, Brooks Williams is a singer-songwriter, jaw-droppingly good guitar player, and consummate performer, whose music melds blues, Americana and folk into a heady soulful mix. If you’re one of the lucky ones to have seen Brooks Williams playing live, you’ll have come away feeling good, with a huge smile on your face. If, by any chance, you don’t  already know Brooks Williams, you’ve sold yourself short – start delving into his excellent back catalogue of around 30 albums immediately.

He’s graced stages along the way with Taj Mahal, John Hammond, Maria Muldaur, Shawn Colvin, Paul Jones, David Bromberg, and more recently toured with Guy Davis and Hans Theessink. His guitar and bottleneck slide playing is legendary; he’s got a sweet, but versatile voice, and is a great song-writer with a ready wit. Watch out too for those covers he does from the blues and jazz back-catalogue as well as more recent stuff, where his reinterpretation of the songs breathes new life into them.

He tours the UK and the US relentlessly and is just about to embark on a tour promoting his album, Work My Claim, which celebrates Brooks’s 30 years as a performing and recording artist.

Gary: So, Brooks, the new album: Work My Claim, is a celebration of 30 years recording and performing. You’ve chosen 12 songs from throughout your career, (plus 4 bonus songs when you buy the CD). You’ve recorded something like 23 solo albums to date, aside from collaborative work – so a lot of songs written and recorded over the years – how did you choose just 12 songs?

Brooks; It was a difficult process. I actually spent a whole year going through the old material. You know, once I finished Lucky Star, I immediately turned my attention to this project because I knew I needed to reacquaint myself with the old songs. So, I spent about a year going through the various albums, listening and then trying to play the songs, seeing which ones felt like they were still relevant. And which ones I was interested in. Because a lot changed over 30 years. But it really was a labour of love to go through those songs.

It was great to reconnect with things and so interesting to find those true moments. Like there’s a track on the record, You Don’t Know My Mind, which is an old Leadbelly track. But when I originally learned it, of course, I didn’t know it was a Leadbelly track because we didn’t have the Internet and there was no book at the library that would help you. People at the local record shop were a good resource, but they didn’t always have all the information. I learned this track from someone on the road, just picked it up while I was travelling around and I re-created it from memory. And of course, I got it wrong. But I like it. And it shows how robust a blues song can be.

Anyway I went through all these songs and I felt like, well, if a song doesn’t want to speak to me now, maybe it’s just one that will continue to exist as it was done 20 or 25 years ago. And those are songs that I’ll still happily play in the gigs. If someone says to me, oh, I’d love to hear this old track from 1993, I’m happy to do it. I just didn’t feel it needed a place on a recording because it’s already got one.

Gary: Yeah, that’s very interesting. But isn’t it a wonderful thing, Brooks, to feel that what you’re doing as an artist has developed and there continues to be great value, and increased value, as time goes on?

Brooks: I feel like the same person who is, you know, sitting in the studio 30 years ago thinking the best was yet to come. And I still feel that now. So, I’m sitting here speaking to you and I’m actually holding a copy of the CD in my hand and thinking it really looks good. I’m so proud of the songs – but I’m still thinking, oh, Gary, I can’t wait for you to hear the songs I’m writing now! And so to always have that sense that there’s the next bit coming. And I really feel that what I’m doing is part of something that’s alive. And I don’t mean that as a reflection just on me. I just mean that music is a very alive thing. And I found a way to sort of swim with it or grab on to it or…jump on board that train.

Gary: You know, I was talking to Rory Block a couple of months ago and she’s just turned 70, I think. And she was fantastic. She said, oh, you know, I feel like I’m just getting started. And I thought that was wonderful. Having turned 60 a couple of years ago myself -which, incidentally, I still can’t believe. And hearing that was very refreshing. And hearing what you’re saying is very refreshing as well, because I know you’ve passed that landmark!

Brooks: Yes! I passed that landmark a year ago now. And I can’t believe it either!

Gary: But that’s a very positive thing to say for sure. Now you’ve got a couple of covers on the album. You’ve mentioned the Leadbelly one. And there’s Dave Alvin’s King of California and Duke Ellington’s I Got It Bad – all great songs. So why did you include them and not other originals?

Brooks: Well, as part of the process I just sent out the call through email, through social media, to people who listen to my music. And I said, this is the project that I’m working on and I would love to hear what your top five songs are. And number one for every single person who sent a response back was King of California. And so I knew without a doubt that that was going to be on there.

And I knew the Leadbelly song would be on there because I felt as though that was such an important milestone for me. To take an old blues song, but to not do it in in the style that people are familiar with and yet stay true to the song. So I kind of figured that had to be there.

And then I Got it Bad. That came about because I went in the studio to make this record and I probably recorded near on 30 tracks digitally. I recorded way more than I needed and it was very apparent straight away that, you know, some of them just didn’t have any extra life in them. They sounded fine but just didn’t have any extra life. But likewise, when I did, I Got It Bad, that one was a real standout performance. I was in the studio with the engineer, Mark Freegard, along with the studio owner, and both of them said, wow, that was really something. And I was already shifting to the next tune. But they said, hang on a second – can we go back to that? We’d like to hear that again, because you kind of went somewhere we’ve not heard you go before. And so it really was their calling it to my attention that made it be on the record.

Sometimes I was using songs I knew well just to stay warmed up in the studio. So even if I wasn’t going to use them, I thought, well, if I sing a couple of takes of this one and I know it well – and I do know the Duke Ellington song really well – I thought this will just be a bridge for me to get to the next song. But in this case, this one stuck. On probably more than two occasions I said to the various people working with me on the record, oh, well, I’m not going to put that one on. And every single time I did, everybody came back to me and said, please put that on!

There were some other songs that didn’t make the record. For example, I have a really enjoyable version of Gambling Man that I did with Hans Theessink. But I thought, well, there’s nothing I would do on this recording that’s going to be better than that. And there were some tracks from my Shreveport Sessions, which I really loved. And even though I recorded them again, it just didn’t feel like they needed to be there. You know, it was one of those gut feelings. And the other thing is that over the course of 30 years, one’s point of view changes. And so there are certain things that I wrote about in earlier years that didn’t seem quite as relevant now or maybe if I were to think about them now, I would think about them differently. I didn’t try to work with those songs.

So in the end, if there was going to be too much deconstruction, I thought, well, I’m so far away from the original, there is no sense in going with this. So, that played a big role in which songs made it.

Gary: You completely reworked Whatever It Takes from Lucky Star, didn’t you?

Brooks: Well, interestingly enough, when I write songs, I write two or three completely different versions of the same song. And I mean completely different tunes. So, the version that you hear on Work My Claim, that’s how I originally wrote the song. And somehow when I was recording Lucky Star, it didn’t seem like it had a place there. I was really kind of struggling with it. So I ended up with a completely alternate version, which is what you hear on Lucky Star. And that’s pretty much how all my original songs work. It’s a bit of a rod to my own back because it makes double the work for everything. But sometimes I don’t know what feel I’m going for until I actually go there and sort of sit in it for a while. Kind of live in that groove and those chord changes. And the basis of all this is, I start with lyrics first. And I write almost the complete lyrics without any music. By the time I get to the music, the lyrics are pretty well set. And then I have room to move.

Gary: Now, looking at this group of songs Brooks, are there one or two that mark particular points in the Brooks William story? Pivotal points maybe?

Brooks: I actually think that’s true for every song there. As I look at the list of songs, every song was important in its time. And it did something that helped take me to where I am now. So every song has a place.

Inland Sailor was the first song that I ever recorded that actually got a fair bit of radio play. I don’t really understand why it did. But that one really propelled me and actually it’s the song that took me to Ireland for the first time. It was getting played and somebody rang me up from Belfast and said, you know, we would like you to come here and play. What’s it going to take to get you here? And it opened up all kinds of doors all over the UK and Ireland. And then also in Canada. That was a real important song for me.

And the song Mercy, Illinois was the first song that I wrote that was a straight-ahead narrative song. And that was a real important turning point, because I was very young and I was looking for a kind of a local idiom, I was trying to capture that Midwestern feel. And that song ended up being one that people focused on. Acoustic Guitar magazine interviewed me about it and I ended up doing the tab and the music and the chords. And it was such a big deal because no one had ever heard of me at that point.  So, every song kind of has a place in there. Each song just turned the game around at that point.

Gary: Very Interesting. And of course, a song like Frank Delandry has got its own story.

Brooks: Yeah. Well that song has been very important to me because not only is it a narrative song but it also it tells a story about a guitar player, Frank Delandry from New Orleans, who one day just mysteriously disappeared and was never heard from again. And so, his memory lives on in legend, not that dissimilar from the legend of Robert Johnson. And so that’s a great story in itself. But one of the things that was so interesting about that song is that it’s probably the first of my songs that when people would hear me play it, they would want to play it too. That had never happened before. People would actually be sending me recordings of them playing at their local acoustic club!  I never had that happen before.

And then the thing I love about it is that it’s firmly set in that sort of sub-delta region of New Orleans. It’s so set in place and time. Which is a place and a time musically that has had the biggest influence on what I do. And so, I felt like I was paying homage to my elders, so to speak. I think it’s important for us to do that.

Gary: Yeah that’s true. And it’s a very appealing song, Brooks. People warm to it very readily. Now, you had some fine musicians who worked on the album with you?

Brooks: Yeah. I was so lucky. Gary, I was making the record and I put out the call to loads of people – to all my friends. And unfortunately, there were so many that were on the road, who were busy and couldn’t come and be part of it. But what I’m so pleased about is a friend of mine called John McCusker, a lovely Scottish fiddler, was able to join me. He had been on tour with Mark Knopfler all last year, and was only home in Scotland for two days. And he spent one of those days recording my album! I’m absolutely blown away by that because, you know… Mark Knopfler, Brooks Williams…come on! But I was so honoured that he prioritized me. And the same for Christine Collister – I’ve been a big fan of her singing for years. And I’ve always thought that her voice and mine would sit really well together. And she just was so generous and did a beautiful job.

And I was so delighted that I got to work with a couple of young players as well, a fiddle player from Bristol called Aaron Catlow. I met Aaron on tour in Europe last year, and I just loved his playing. And I thought, wow, this is fiddle that’s kind of folky on the one hand, but it’s kind of bluesy – that Papa John Creach kind of kind of thing that used to happen with Jorma back in the day. And yet kind of jazzy and had a Stephane Grappelli feel as well. So I was so delighted that he was able to play. He’s a very big part of this record.

And then I called on my favourite piano player, a young fella from up in Newcastle, called Phil Richardson. He’s a wonderful piano player. And when I was on tour in Germany, I met a wonderful blues harmonica player called Ralf Grottian. It was tricky to meet up with Ralf, but it was good to get him on one or two tracks anyway.  And then my old friend from the USA by the name of Jim Henry, whom I made a record with back in the 90s, was able to remotely add some mandolin and some vocals.

And it was just so great that that I was able to put all these pieces together. So, I knew from the beginning, Gary, this was gonna be an acoustic album and I knew it was going to be an acoustic guitar album. I certainly had my resonator guitar and my cigar box guitar there. I had the mandolin there. But I knew once I got started that something was happening. And whenever I recorded anything with those other instruments, it just didn’t feel right. It felt very reminiscent of when I started. We only could afford, all of us in my peer group, one nice guitar. And I remember going into a guitar shop and looking at a National and thinking, oh, one of these days I’m gonna buy a National. It took me years! But I remember all the music that I created in those early days was on one acoustic guitar. So I almost felt like I was going back to my roots in that way as well.

Gary: Brooks, you’re going to go on tour to the U.S. again in March. Then you’re back in the UK and touring for months. I’m looking at your schedule, it just looks – I mean, I’m tired just looking at it! How do you have the energy to do this, Brooks? [Find Brooks’ tour schedule here]

Brooks: I have loads of energy when it comes to playing and singing! And I look after myself as well. But I know that come the end of the year, I’ll be ready for a nice, long holiday.

Gary: Brooks, thank you so much.

[slightly edited for clarity and length]

 

 

Best Blues Albums 2019

We’ve had some terrific blues albums during 2019. It’s always hard to compare blues-rock with acoustic blues or with Americana blues; or more traditional sounding blues with modern blues that stretch the boundaries of the genre. But, nevertheless, here’s a list of the 30 albums that we’ve enjoyed listening to and that we consider a cut above the rest. (Click on the links as you go through to find full reviews or interviews.)

Here’s our Top 10

Keb’ Mo’: Oklahoma
Rich, typically Keb’ Mo’ style rootsy blues, featuring collaborations with Rosanne Cash, Taj Mahal, Jaci Velasquez, and his wife, Robby Brooks Moore. Producer Colin Linden and Robert Randolph pitch in too, to great effect in a potent and hugely enjoyable set of songs which will surely compete for a Grammy. Here’s our comments on the album.

 

Martin Harley: Roll with the Punches
Top-notch slide guitarist, Martin Harley’s album is upbeat, it’s positive, the musicianship is superb, the songs and their arrangements are terrific. It’s everything a bluesy Americana album ought to be. It’s a little piece of “sunshine to keep in your pocket everywhere you go.” Check out our full review here.

 

North Mississippi Allstars: Up and Rollin’
11^th album from the Dickinson brothers’ band, which is effectively a soundtrack to photographer Wyatt McSpadden’s shots of local musicians which sought to capture the musical heritage of North Mississippi. With guest appearances from Mavis Staples, Sharde Thomas, Jason Isbell and Duane Betts, this is a hugely enjoyable album, with its roots in the past but a distinctly modern feel.

 

Beth Hart : War in My Mind
Bluesy, at times hard-rockin’, Hart’s album gives full vent to her powerful and emotive vocals. Honest, revealing and passionate.

 

 

 

Gary Clark Jr.: This Land
Texas bluesman’s 3rd studio album and his best. Seventeen tracks where he cleverly and successfully fuses a number of styles from rock, R&B, hip-hop and soul, with a dash of reggae. Here’s our comment on the album. 

 

 

Mary Flower :  Livin’ With the Blues Again
Eleventh album from fingerstyle blues maestro, Mary Flower is a 12-song set that comprises instrumentals of blues, gospel songs and some Mary Flower originals which showcase her acoustic guitar chops. It’s the blues, but its uplifting as well. Check out our interview with Mary here.

 

 

Jontavious Willis: Spectacular Class
Wonderful Grammy-nominated album of acoustic blues, produced by Keb’ Mo’. Described as a “wonderboy” by Taj Mahal, no less, Willis matches his skilful country blues guitar with rich, soulful vocals. Find our interview with Jontavious here.

 

 

Rory Gallagher: Blues
New collection of blues recordings from the Irish artist released in what would have been his 50th year of recording. Gallagher was one of the great white blues guitarists of the rock’n’roll era. 36 tracks over 3 CDs – electric and acoustic and live – exude a raw energy, and include special guest sessions with legendary blues artists Muddy Waters and Albert King. A wonderful overview of Gallagher’s career.

 

Christone Ingram: Kingfish
Quite simple a terrifically enjoyable album, with twelve original songs that feature Ingram’s mellifluous vocals and stunning guitar work. The album is very definitely the blues, with familiar themes of lost and unrequited love but there’s a positivity throughout that is very tangible.  Our full review is here. 

 

 

Peter Frampton Band: All Blues
Ten classic blues tracks deliciously delivered by the vintage rocker and his top-notch band. With guest appearances from Sonny Landreth, Larry Carlton and Steve Morse, this is just terrific stuff.

 

 

And here’s the next 10

Kenny Wayne Shepherd: The Traveler
Eight originals and two covers from the ever-consistent Shepherd, accompanied by a group of talented musicians. Shepherd has become not only a not class blues rock guitarist, but a fine song-writer. Mind you, it’s the acoustic Tailwind, with its positive vibe, that stands out for me.

 

 

Elles Bailey: Road I Call Home
Superb sophomore album from English singer-songwriter. Blues-infused Americana, with eleven strong songs featuring Bailey’s impressive, soulful vocals.

 

 

 

Robert Randolph: Brighter Days
Pedal steel guitarist and his band are in fine form here with ten excellent songs, some true to their gospel roots, others full out rockers. It’s great fun, full of energy, groove and inspiration.

 

 

The Jorgensens: The Lexington Stretch
A completely captivating slice of timeless Americana, that is at once bluesy, jazzy, retro, modern and rocking. Seriously good music, to be enjoyed by anyone who loves blues or Americana. Find our full review here.

 

 

Southern Avenue:  Keep On
Vintage blues and soul from Memphis-based band. Singers Tierinii and Tikyra Jackson are outstanding in these 12 tracks of fresh, soulful grooves. Outstanding new band, with refreshing new sound.

 

 

Walter Trout: Survivor Blues
Walter Trout’s 28^th album covers songs that have inspired him along his long musical journey, including numbers by Elmore James, John Mayall, Hound Dog Taylor, Fred McDowell and J.B. Lenoir, putting his own inimitable stamp upon them. Walter Trout is an exquisite guitarist, an accomplished singer and he’s given us another gem.

 

Jimmy “Duck” Holmes: Cypress Grove
Produced by Black Keys frontman, Dan Auerbach, and features musical support from Auerbach and members of his band. The result is a raw explosion of genuine Mississippi juke-joint blues, with 11 traditional Delta blues songs from Holmes’s extensive repertoire. It’s fabulous stuff, a treat for any blues fan. Check out this great interview with Jimmy here.

 

Matty T Wall: Transpacific Blues
This new eight-song features Matty T Wall and some of the finest guitarists on the international music scene, including Eric Gales, Walter Trout, Kirk Fletcher, Dave Hole and Kid Ramos. With traditional blues songs and new approaches to the genre with plenty of creative twists, this is some of the best guitar playing in one place you might hear all year. Find our full review here.

 

Mavis Staples: We Get By
Remarkable vocal performance by the 80 year-old Staples, aided and abetted by producer Ben Harper. In songs of hope and determination, she sings, “things gotta change around here” and we’re “not too far down the wrong road to turn around.”

 

 

Tulle Brae: Revelation
Ten original, well-crafted and hugely enjoyable songs, full of energy and emotion. Blues rock, delivered with a huge amount of soul and underpinned by Tullie’s gospel roots. Our full review is here.

 

 

3 Top Live Albums

Hans Theessink: 70^th Birthday Bash
Last year, for 4 nights in April, Hans celebrated his 70^th birthday in the Metropol in Vienna, with musical friends from all over Europe and North America, including The Blind Boys of Alabama. The result is a double album of delightful, top-notch roots music. Find our full review here.

 

Joe Bonamassa: Live at the Sydney Opera House
Another top drawer live album from blues-rock guitarist Joe Bonamassa and his band at this iconic venue in 2018. Some epic performances here from what was clearly a very special night.

 

 

Lee Boys: Live on the East Coast
High-energy, funky, bluesy, sacred steel ensemble delivers a set of songs pulsing with contagious energy and inspiration, fuelled by Chris Johnson’s pedal steel and the band’s tight musicianship. Our full review is here.

 

And our final set of 7

Tedeschi Trucks: Signs
4^th studio album from the impressive Tedeschi Trucks outfit, with its typical meld of classic rock, old soul and blues, into a full-bodied Americana. It’s a calmer than previous outings, however, with Tedeschi’s incredible vocals to the fore, supported, as always by Trucks’ exquisite slide guitar.

 

 

Colin Linden, Luther Dickinson & the Tennessee Valentines: Amour
Bluesy dose of Americana covers, including classics like Careless Love and Honest I Do. First time collaboration between Linden and Dickinson, two outstanding musicians, here on top form with 10 songs of bittersweet love.

 

 

Joanne Shaw Taylor: Reckless Heart
Blues rock, full of energy from Detroit-based British artist. It’s an upbeat album with some fiery, up-tempo tracks, driven by Taylor’s top-notch guitar work (with no guitar pedals) and her superb, raspy vocals.

 

 

Joanna Connor: Rise
Blues, jazz and rock from this incendiary slide guitarist. It’s an accomplished set of 12 original songs which show off Connor’s versatile guitar chops and her impressive song-writing skills.

 

 

Mindi Abair and the Boneshakers: No Good Deed
This is a fine album of joyous, upbeat, full-production blues rock, with a dollop of soul and funk here and there. The musicianship from the whole band is outstanding, the choice of songs interesting, the arrangements fabulous and the whole thing makes for a hugely enjoyable summery record. Our full review is here.

 

Ronnie Earl the Broadcasters: Beyond the Blue Door
15 traditional sounding and soulful blues delivered by Earl’s band with guests Kim Wilson, David Bromberg, and Greg Piccolo. We get a range of covers, including a heart-felt version of Howlin’ Wolf’s How Long, and a number of Earl originals. Look out for the duet between Earl’ Stratocaster and David Bromberg’s acoustic guitar on Dylan’s “It Takes A Lot To Laugh, It Takes A Train To Cry.”

 

Samantha Fish: Kill or Be Kind
An album which pulls you in with strong melodies, top notch guitar work and Fish’s versatile vocals which can belt out rockers, go all sultry or give-it-some-soul, in turns sweet, passionate, and gritty. It’s an impressive vocal performance, actually, on a set of songs that encompass soul, blues, pop and melodic love songs. Find our full review here.

 

 

 

Acoustic Guitar Maestro Mary Flower is Livin’ With the Blues Again

“A national treasure in your own back yard.” Jorma Kaukonen

Mary Flower is an amazing acoustic guitarist who specializes in Piedmont-style finger picking with dashes of Delta, ragtime and jazz. A finalist in the National Finger Picking Guitar Championship, she is also a three-time nominee for a Blues Music Award and many times a Cascade Blues Association Muddy Award winner. Living Blues magazine said that she “Marries acoustic blues with touches of ragtime, folk, and jazz…the interplay is always interesting, often provocative, and sometimes breath-taking.”

She has eleven recordings and performs regularly in the United States and abroad, including appearances at the King Biscuit Blues festival, the Vancouver Folk Festival and Prairie Home Companion.

As well as her recording and song-writing, Mary Flower is a renowned guitar instructor, teaching at festivals and guitar camps, and hosts her own guitar camp, Blues in the Gorge, each year near Portland, Oregon. In addition, she has developed five instructional DVDs and been part of the Blues in Schools program.

With a great deal of care and creativity, she brings to life older blues and roots music, and composes songs that sound like they firmly belong in America’s great roots music tradition. She recently released her eleventh album, Livin’ With the Blues Again, a 12-song set that comprises instrumentals which showcase Mary’s guitar chops, blues and gospel songs and some Mary Flower originals. Down at the Crossroads got to chat to Mary about the album and her music.

Gary: I’ve been listening to your new album quite a lot over the last the last week or so. And I’ve really enjoyed it. I mean, it’s the blues, but it’s kind of uplifting as well. So I wondered if maybe you could tell us a little bit about it, how you decided what songs would go on it and maybe a bit about the recording process.

Mary Flower: Well, I have to tell you that this was a fairly quickly recorded CD and also I didn’t have a lot of time to plan. I know people who have spent a year to record an album and I found out maybe a month and a half, I’d say, before recording times that I was going to do it.

I was approached by the Little Village Foundation, which is…I call them angels. They find people that they want to record for them. And then they record the whole thing and do the artwork and pay for everything, and then give you CDs. I was extremely lucky to be chosen for this project. They recorded five albums about the same time and the release date for all five was the same. So we did a five act concert down at the Freight and Salvage in Berkeley, California.

Jim Pugh is a Hammond B3 player, who has played with a lot of groups, including with Robert Cray. And he decided to do something that would get him off the road and do something good for people. So he started the Little Village Foundation which is based somewhere in California. Anyway. So I had very little time compared to what a lot of people have when they do a project. I just kind of chose songs that I thought that I knew well enough to be able to pull off in the studio fairly well without having to think too hard –  songs that I’ve been playing that I knew fairly well. I wrote a couple of extras before I went in and I did a couple of repeats from older albums.

For the recording process we had an engineer who’s a great guitar player. And mostly the other people on the recording are Little Village artists, except for Susie Thompson, who’s a friend of mine. And so it was people I’d never met or played with before. And they just kind of brought ’em in and the Sons of the Soul Revivers were phenomenal to work with. Three guys. And they didn’t have to even think about the parts. They knew exactly what to do and they sounded really, really good. They’re incredible. Anyway, it kind of all worked out.

Gary: I wanted to ask you about your singing, because I thought your singing on the album was very good. Clearly you’re known for your finger picking prowess – and the album is bookended by two lovely instrumentals. But do you have a preference between just playing guitar or playing and singing?

Mary Flower: Yes, I do. I would prefer…well, let’s put it in terms of songwriting. Would I rather write an instrumental or lyrics? l’d certainly rather be more guitar centric than being called the singer songwriter. Writing songs is a really difficult process for me lyrically. And, you know, I can sing or not sing, but I’m happy to not be singing if that’s an option. And I love writing instrumentals. I’m passionate about that. Particularly writing instrumentals that sound like an old song. Piedmont style blues or something.

Gary: But take Living with the Blues Again, which is a Mary Flower original. When you talk about, you know, struggling maybe with writing lyrics, I just thought the lyrics on that were very strong. And some were quite amusing. And then you have “this old country’s in a terrible mass, there’s lying and cheating, hitting and tweeting…No more kindness, my friend.” Which sounded to me awfully like a comment on your tweeter-in-chief.

Mary Flower: Oh, yeah, absolutely. I mean, what else could it be? It was definitely a political connotation. I’m not really a political performer or someone that talks a lot about politics. But I did find that that fit in well to that song. But my audience is not going to be insulted by that – they’re pretty much in agreement, I think. But yeah. That was exactly what that was all about. And I thought it was a very gentle way to say something. You know, as opposed to some people who are just…have more guts than I have!

Gary: I thought that was nicely done in the song and so, you know, I think your lyric writing on that one came through pretty well. It kind of reminded me of a Chris Smither, song in some ways, because he’s quite clever with his lyrics as well.

Mary Flower: Yeah. Well, he’s a real lyricist. But I just find it difficult to get inspiration. If I go to a retreat where I have nothing to do but write, I can write a song! But daily life – there’s so much to do. I get distracted. and I always have to be dragged away from my house, far away from civilization to write! But I can do it when forced to!

Gary: And there are some very cheerful spots on the album. There’s A Bright Side Somewhere, which is an old gospel song, which has been done by all sorts of people. I discovered recently another nice version of that by Ry Cooder.

Mary Flower: Oh I didn’t know he did it.

Gary: Yeah, but yours is a great version. And then River of Joy. Both seem to me to be quite hopeful or inspirational songs at a time when there’s a lot of pessimism around, you know, you say “the world’s all rough and tumble, There’s a great unrest” and so on. How important are those sort of songs, those kind of upbeat songs, in times like these?

Mary Flower: I think they’re critical. I have some hope because it’s gotta turn. It’s worse than it’s ever been, but it’s gonna turn around. And I think people like being hopeful. River of Joy is one of the two songs that I had previously recorded. I had written that after 9/11 – it was my response to that. So it kind of felt like it was time to do it one more time. I’m not a religious person, but gospel music is quite moving to me. I just feel like it lifts me up.

Gary: It’s such a big part of American roots music isn’t it?

Mary Flower: Yes, it’s huge. I’m a big fan of good gospel music. And that song Bright Side I thought was a Reverend Gary Davis song until I realized it’s an old Methodist hymn. And the guys that I sang with knew it quite differently. And they kind of had to relearn the structure of the song. Everybody’s got their version of it.

Gary: So, let me ask you a little bit about your guitar playing. Obviously, you’re very skilled. You’ve been a finalist in prestigious competitions and so on. And so how did you get so good, Mary? Were you self-taught? Did you have teachers? How did you get to the skill level you have?

Mary Flower: I am completely self-taught. I grew up in a small town where nobody played guitar. And, you know, it was during what we call the folk scene of the 60s, late 60s, and all I heard were the commercial renderings from people. I didn’t really understand the roots of the music until I went to school at Indiana University, which has probably the greatest ever ethno-musicology school in the country.

John Cephas

And a lot of musicians came there and, as I began to dig a little bit deeper, I realized that some of the Peter, Paul and Mary songs, were written by Reverend Gary Davis. I started hearing the roots. And as I got older, I began to delve into the people who played the early country blues and early Piedmont style blues. Then I met John Cephas, who is one of my heroes. And John Jackson, two Piedmont style players. I spent time with both of them, not really learning from them, but playing with them, you know? And as I went around to these guitar camps, which were really fun, I learned. I mean, I watched other people. I watched how they taught. I watched how they play. And that really helped me in the beginning. And then I kind of found my own way.

But I try to not copy. I mean, unless I decide I’m going to do a note for note version of somebody’s song. I try to kind of use their style in a way with my own playing, with my own writing. And I turn it around a little bit. I try to never steal. I mean, you won’t hear me sound too much like Robert Johnson, although I could if I wanted to. Plenty of people that do that. I try to make it my own, I guess.

Gary: So how do you do you do that? When you’ve identified a song that you think that might work for Mary Flower, how do you go about the rearranging, reinterpreting?

Mary Flower: I try to be true to the form and perhaps play it in a different key, make my own arrangement. But keep it recognizable. I don’t want to take it too far away from where a song was written. But probably the hardest thing for me is if I’m learning a song that was recorded by a man. Many times I can’t sing those lyrics or I can’t sing it in the key that they recorded. So, I’ve got to make some changes. All of that can be a bit of a struggle. It’s really hard to take a song and make it mine if it’s written by a guy. And so many times it is.

Gary: Do you ever change lyrics then so you can sing it?

Mary Flower: Yes, I have been known to do that! If I were doing a Robert Johnson song, I can’t sing, “I’ll beat my woman until I’m satisfied.” So yes. I’ve been known to change a bit here and there.

The other problem is understanding lyrics from the recording. That can be super hard and I get really frustrated. You’d think this song must have lyrics on the internet. Wrong! Because they couldn’t understand the lyrics either! So, yes, it can be really hard to find the correct interpretation of the song.

Gary: A good example of that is Blind Willie Johnson’s Latter Rain. Because if you go and look for the lyrics of that, you’ll find all sorts of strange things because Johnson was a Pentecostal and there’s a bit of Pentecostal theology that read a text in the Old Testament about the “latter rain” falling on the crops which they took to refer to the Spirit falling in the last days. So that’s what the song’s about, because Johnson’s Pentecostal movement felt that they were in the days of the latter rain of the Spirit coming down. But unless you understand that you would misinterpret what Johnson is singing, which sometimes can be difficult. So that’s a prime example of a prime example of what you’re saying.

Mary Flower: Yeah. And there are so many dialects as well. In the Southern States, it’s really hard to understand those guys so much of the time.  Another positive point for writing my own!

Gary: So if someone was starting out on a journey wanting to play acoustic blues guitar, people who come to your to your workshops and so on – who would you advise them to listen to?

Mary Flower: Well, I would say Blind Blake, because he is the top of the heap as far as I’m concerned. I know maybe seven people who can imitate him well, who can play just where he’s playing. But if I want a gentler approach, I would start with Mississippi John Hurt, whom everybody loved because he was a sweetheart. Although his songs sound easy, they’re not really, but they’re a good place to learn. And I’d also say Elizabeth Cotton, who also had a gentler approach. And, you know, she wrote Freight Train, which is very cool.

These guys teach you pattern picking, and how to incorporate a melody. But when people try to learn syncopation, that’s what throws everybody. It’s so complex. And really the guys who play that are really imitating a piano, and it’s easier to play syncopation on a piano than it is to play it on a guitar. So that’s what tends to throw people.

That’s kind of what I spend a lot of time teaching in these workshops because a simple melody isn’t very interesting. People have to learn to vary it from measure to measure. But John Hurt, he is a great place to start.

Gary: Very good. Who then are the guitarists that you like to listen to these days?

Mary Flower: Well, I don’t do a lot of listening, and I’ll tell you why. I hear music all the time. I mean, I had a four-hour rehearsal yesterday with my little string band! But of course, Ry Cooder.  And then some of my friends who are not maybe nationally known or internationally known. Pat Donahue is one of my favourite players of all time.

I still hear people say to me, “You know what, you’re so good. Why have we never heard of you?” That’s why I get on tour. And Pat’s another one of those. Even though he was on Prairie Home companion for years and had millions of people listening to him every week. And then there’s Paul Geremiah whom I knew. Sadly, he’s had a stroke and I don’t think he can play anymore right now. But he was the best of the best when he was touring. These are some of the top, top guys. Oh, and John Cephas and John Jackson I guess I should put it in that category, as far as heroes of mine go.

Gary: So let me ask you a little bit about the blues. You’ve been nominated for Blues Music Awards, and a lot of your music revolves around the blues. What is it that attracts you to this music, Mary?

Mary Flower: Well, there’s so many different kinds of blues. The Chicago style was mostly electric, and I’m not really interested in that. I’m interested in the Piedmont style because it is complex and challenging. And oddly enough, it was played mostly by blind men. Go figure on that one! They were phenomenal. But I don’t know – it speaks to me, it’s got an edge to it. And I can write songs that work in that genre. I mean, I can write folk songs if I need to. But I really like the challenge of trying to make it sound like it’s an older song.

Gary: This is music that’s been around for a long time, that does seem to have an enduring appeal. Generation after generation discovers something fresh in it and it seems to have that continual attraction and pull.

John Jackson

Mary Flower: And I also think that the people who are really good at it have been working all their lives toward getting it right. That to me is worth a lot right there. Let’s put it this way – there are not a lot of jerks playing this kind of music! If they are, they don’t last. They are people who are putting their best foot forward and being true to the to the genre.

Take John Jackson, the Piedmont style player from Virginia, who is no longer around, and was probably the closest thing to John Hurt. He lived a fabulous life. And I think everybody was so touched by him. He just had a halo around his head! He played this music and spoke with an accent that nobody could quite understand. But he was such a great guy. And that really appeals to me and speaks for something.

Gary: Yes, that’s very interesting that you say that, because over the last two, three years I’ve talked to quite a lot of blues musicians…like Eric Bibb, Chris Smither, Rory Block, Hans Theessink, Luther Dickinson and quite a few others. And they’ve been generous with their time in talking to me and never critical of other people. So, yes, I think you’re right to say that. [when you’re finished here, check out the interviews by clicking the link]

Mary Flower: Oh, by the way, I’ve invited Eric to teach at my camp next year, and we’ve had Michael Jerome Brown in the past. He’s a wonderful player.

Gary: Yes, he’s a fantastic player. I saw him touring with Eric Bibb in the last year. And he has an encyclopedic knowledge of the blues and blues history.

Mary Flower: Yes, he taught at my camp and made a big impression a couple of years ago. So hopefully we’ll get Eric Bibb next year. And it look like we might have Jim Kweskin  for the jug band-y stuff. Anyway, that would be quite a year if I can get who I want.

Gary: So tell us about your teaching, Mary, because I know that’s a big part of what you do.

Mary Flower: Well, I have my own guitar camp that happens here in early October. And it’s been hugely successful. We’re going on our seventh year, I think. And I bring in three nationally known people, and then get 50 students. So teaching is something I love to do. And it also balances me out. I don’t have to be on the road all the time. And I teach at other people’s guitar camps as well.

My camp is called Blues in the Gorge and it’s in the Columbia River Gorge at a place called Menucha. There’s something on my home page of my website about the dates for next year, which is early October. [check it out here] It’s 5 days – three intense days. And it’s a lot of fun. Everybody who comes is gracious. A lot of these camps turn into party camps, but that’s not what this is. People take it seriously and a lot of really great, great people show up for it.

Gary: That sounds fabulous and a lot of fun. Mary, it’s been lovely talking to you. Thanks so much for your time.

20 Best Acoustic Blues Albums

Acoustic guitar blues goes back a long way to the early Delta pioneers like Charley Patton, Son House, Willie Brown – and, of course, Robert Johnson, who followed them around and eventually outstripped his mentors. Blues musicians like Blind Blake and Blind Boy Fuller, Willie Mctell and Willie Johnson were all skilled exponents of the art before, eventually, the blues would go electric. People like Josh White and Big Bill Broonzy kept the acoustic tradition which was revitalized in the folk revival of the late ‘50s and early ‘60s with the rediscovery of artists like Skip James, Mississippi John Hurt, Mississippi Fred McDowell, Elizabeth Cotton and Rev. Gary Davis.

The legacy was taken on by those who learned from these artists, like Rory Block, John Sebastian, Jorma Kaukonen and others, and acoustic guitar blues has continued to flourish in the capable hands of artists like Taj Mahal, Eric Bibb, Keb’ Mo’, Hans Theessink, Chris Smither, Mary Flower, Guy Davis and many others. And, of course, Rory Block is still going strong.  We have to mention, too, Eric Clapton, whose massive selling 1992 Unplugged album put acoustic blues back on show and paved the way for an increase in popularity of the genre ever since.

We’ve chosen a selection of 20 of the best acoustic guitar blues albums from the last 10 years. Check them out and enjoy!

Billy Boy Arnold: Sings Big Bill Broonzy

Veteran blues harp player Arnold, turns in a very fine acoustic guitar driven tribute album to the great Bill Broonzy.

Lurrie Bell: The Devil Ain’t Got No Music

Sparse, stirring 2012 album of gospel blues from Chicagoan Bell, with help from Joe Louis Walker and Billy Branch.

Eric Bibb: Blues, Ballads and Work Songs 

We could easily have plumped for any one of Bibb’s recent albums – Blues People (2014), Lead Belly’s Gold (2015) and Booker’s Guitar (2011) all come to mind – but have gone for this 2011 album of traditional blues songs all featuring Bibb’s expert picking and dulcet singing tones. Check out our recent interview with Eric here.

Rory Block A Woman’s Soul

Again, we could easily have chosen one of Block’s fine tribute albums of the last ten years – to Mississippi John Hurt or Rev. Gary Davis, amongst others – but have plumped for her 2018 album of Bessie Smith songs for the clever way in which she has translated the big band arrangements into guitar accompaniment and her fine vocal performance. Check out our interview with Rory here.

Michael Jerome Brown: Can’t Keep a Good Man Down

Canadian Brown is an incredible musician and guitarist, with an encyclopaedic knowledge of the blues. This 2015 album of forgotten largely pre-war blues songs is quite wondrous.

Paul Cowley: Just What I Know

I guess most people reading this will not be aware of Paul Cowley, an English musician living in France. This 2018 album of 7 classic blues songs mixed with 5 originals ought to out him on the map. Very fine album. Check out our review of the album here.

Guy Davis & Fabrizio Poggi: Sonnie and Brownie’s Last Train

This 2017 album ought to have earned the artists a Grammy. Two top modern-day artists at the top of their game channelling two of history’s greatest acoustic bluesmen. See our album review here.

Luther Dickinson: Blues and Ballads

Brilliant album of timeless-sounding, original songs from the North Mississippi Allstars front man and top-notch album producer, Luther Dickinson. Lovely gospel vibe throughout and a welcome contribution from Mavis Staples. You’ll find our interview with Luther here.

Mary Flower: Misery Loves Company

Fingerstyle guitarist and music educator, Flower is a master of intricate syncopated Piedmont style finger picking. This 2011 album produced by Colin Linden with half of the 12 songs originals features Flower’s outstanding guitar work.

Mark Harrison The Panoramic View

A hugely enjoyable treat of modern acoustic blues from 2018, full of wondrous finger-picking and slide playing, and giving full vent to Harrison’s compelling story-telling and wry humour. You can find our review here.

Bottleneck John: All Around Man

Again, you may not know of Johan Eliasson aka Bottleneck John, but this 2013 album is an absolute treat. Eliasson has an amazing collection of vintage guitars and resonators and can play them to great effect. Our review can be found here.

Ernie Hawkins: Whinin’ Boy

Hawkins is a masterful guitarist in the blues and ragtime vein pioneered by the legendary Rev Gary Davis. This is a fine album of early jazz and blues songs, with Hawkin’s guitar work augmented by a little clarinet, trombone and trumpet.

Harrison Kennedy with Colin Linden: This is From Here

Canadian singer-songwriter and bluesman, Kennedy’s 2015 album of soulful and authentic blues won a Juno award.

Taj Mahal & Keb Mo: TajMo

Fabulous collaboration album from blues masters Taj Mahal and Keb’ Mo’ in 2017. This is an adventurous, joyous take on traditional blues from two musicians oozing class and mutual respect. It won a Grammy in 2018. Check out our review of the two in concert here.

Doug MacLeod: There’s a Time

An album of original songs which sound like well-worn acoustic blues classics. Bass and drums accompany MacLeod’s ever tasteful guitar work and excellent vocals. MacLeod is known as the “storytelling bluesman,” and these songs draw you in to their engaging narrative. Superb.

Chris Smither – Still on the Levee

A two-CD retrospective featuring Smither’s own new recordings of a selection of songs from his vast back catalogue to celebrate his 50^th year of making music. Witty, intelligent songs, driven by Smither’s metronomic guitar picking. Catch our interview with Chris here.

Hans Theessink & Terry Evans: Delta Time

Hugely enjoyable 2012 acoustic blues album from two of the finest blues singers you’ll hear (sadly Terry Evans passed away in 2018). Great chemistry from the combination of these two contrasting voices with a wonderful gospel sound and lovely harmonies throughout. Also check out their 2008 Visions. You can find our interview with Hans here.

Brooks Williams: Blues

The album is a gem, featuring just Brooks’ voice and guitar – acoustic, resonator and cigar box, and was recorded live in the studio. The result is a very fine album of traditional and classic blues. Worth checking out, too is Brooks’ Baby O! from 2010. Take a look at our interview with Brooks here. 

Jontavious Willis: Spectacular Class

Spectacular Class is an album of timeless acoustic blues, released in 2019 by a young man hailed by Taj Mahal as a “great new voice of the 21st century in the acoustic blues.” It’s an album that sounds at once traditional but at the same time entirely fresh, with an outstanding set of songs driven by his top-notch guitar picking and his hugely entertaining vocals. You can find our interview with Jontavious here.

Various Artists: Things About Comin’ My Way – A Tribute to the music of the Mississippi Sheiks

Terrific tribute album from a variety of artists, including Bill Frisell, John Hammond and Bruce Cockburn.

Joe Louis Walker: “The blues is consistent, it’s constant”

Legendary bluesman, Joe Louis Walker is a Grammy nominee who has won numerous Blues Music Awards and W.C. Handy Music Awards, and is in constant demand to perform across the United States and the world. NPR Music called him “a legendary boundary-pushing icon of modern blues.”

Photo: Marilyn Stringer

Born in California in 1949, Joe has had a lifetime in the blues, collaborating along the way with a diverse group of first-rate artists including James Cotton, Bonnie Raitt, Buddy Guy, Taj Mahal, and Clarence “Gatemouth” Brown.

With 26 albums to his name, his 2018 release, Journeys to the Heart of the Blues (Alligator Records) is something of a departure from his other records, which typically feature his blistering electric guitar, in a stirring mix of soul, rock, jazz, and gospel. Journeys to the Heart of the Blues is a stripped back collection of old blues songs, some by better known artists like Big Maceo Merriweather, Sunnyland Slim and Blind Willie McTell, others which revive songs from lesser known artists like Washboard Sam and Son Bonds. It’s been nominated for a Blues Music Award 2019 for Best Acoustic Album.

The songs were recorded by Joe along with US keyboard maestro, Bruce Katz and top-notch blues-harp player from the UK, Giles Robson. Along with Katz’s delightful boogie-woogie piano and Robson’s heart-rending harmonica, Walker’s vocal performance throughout is masterful, doing full justice to the gritty blues stories of the album’s songs.

Down at the Crossroads talked to Joe about the album:

DATC: Congratulations on the new album, Joe. It’s really excellent and had a lot of good reviews. It’s a very stripped-down approach to the blues – tell us about why you wanted to make an album like this.

Joe: Thank you. Well, the whole idea was – the harmonica player, Giles Robson, sat in with me one night – we were doing the same show in Amsterdam. And we had a good time, playing together. So he had an idea to do an acoustic thing with acoustic guitar and harmonica. And then we said, why don’t we add a piano to it, give a bit more percussive feel, and so I thought of Bruce Katz. So it turned our really good, because Giles came over from England and we rehearsed for a couple of days, and we recorded the whole thing in, I think, 3 or 4 days – record and mix and all that stuff – the whole record took maybe 6, 7 days to complete it. We did most everything live right there in the studio.

DATC: That seems pretty fast!

Joe: Yeah! In today’s world!

DATC: But then, you had three superb musicians working on it!

Joe: Yeah. Everybody communicated really good, when it came to the recording, when someone wanted to try something one way or a different way. Everybody communicated really well, which was really important.

DATC: Yes, and that comes across very much when you’re listening to the album. You’ve got that real good sense of understanding from the three of you playing together.

Now, these are pretty much all classic blues songs – you obviously still sense an appetite for this sort of material? What is the enduring power of the blues, and this more raw, stripped down blues that we get on this album?

Joe: Well I think that the tunes that this record presents are sort of…it goes back to a lot of topical blues where one particular song would be about one topic. And so here you have in detail about one topic like in Murderer’s Home, Murderer’s Home is basically murderer’s row when you go to prison, so this is describing murderer’s row. You have Hell Ain’t but a Mile and Quarter, obviously a mile and a quarter none of us want to go. So the song has gotta sound like that, gotta feel like that, you’ve gotta make that visual come across in your mind. When Giles brought some of these songs and we picked these songs, they seemed a little bit more obscure than a lot of other songs that have been done, and the artists who did them. People like Son Bonds, and others – a lot of people don’t know about them.

DATC: Yeah, it’s good to bring these artists to people’s attention. The sort of blues you’re talking about there – rooted in real life, in the nitty gritty of the difficulties of real people’s real lives – is that something in the blues that has an appeal, as opposed to the more ephemeral approach of a lot of modern music?

Joe: I think that is the one thing that differentiates blues for a lot of other genres of music. The blues is consistent, it’s constant, you know? It constantly speaks to the harder side of life, the things that we all go through, that might be uncomfortable to talk about, that we all think about, and then you find out that somebody else thinks about it the same way. Somebody else can put it in the form of a song, a poem, a book or whatever, then its cathartic. It’s a great purpose when it does that.

DATC: And is that why you gravitated towards the blues in your early days and why it’s continued to have such a strong pull for you over the years, Joe?

Photo: Joe Del Tufo

Joe: Well, I was like anybody else. I was a kid when I started playing music and you know, I just gravitated towards the music, period! Whether it was T-Bone Walker playing the guitar, or later on, whether it was the Animals – you know, I didn’t care, I just liked the music. And so, later on, when bands would put ads in papers for musicians, or in music stores or in different shops, I would answer some of those ads for a lead guitar player, when I was a teenager, and that helped me become a more well rounded guitar player. I played all kinds of stuff, you know, and the blues I played, it was blues, but it was also bluesy type of material. I just played all kind of stuff.

DATC: At one stage in your career, I understand you changed direction and spent a long time in a gospel group. Can you tell us about why you did that and then about moving back towards the blues again?

Joe: I started back to playing gospel music because that was basically where I started when I was a kid anyway. I’m a sort of a restless soul. There was a great group I was a part of, the Spiritual Corinthians, and so that was a great thing. But when I left the gospel group, I didn’t look at it as going back to playing blues. I looked at it as going forward, to playing something different. I get tired of playing the same thing! It just that musically I’m a restless person. So I wanted to do something different. I went back to trying to make my own stamp on a blues style music.

DATC: And you’ve done that to great effect over the year, Joe, fusing in various influences into your playing and your albums, but gospel has continued to be a theme in your music. I’m thinking of albums like Hellfire – the title track and Soldier for Jesus and the real gospel sound of Keep the Faith on Hornet’s Nest, for example.

Joe: Sure, yeah, and it gives me an excuse to sing with a lot of people who were heroes of mine, who do gospel stuff. I hired the Gospel Hummingbirds, The Spiritual Corinthians, I had The Jordanaires – God bless ‘em – I had the McCrary Sisters on a couple of things. A lot of different gospel people have sung on these records I’ve done. The new record I’m doing – it’s not the acoustic stuff, it’s my own record. I’m having a lot of people on that, I’m having several female singers, and one is Carla Cooke, that’s Sam Cooke’s daughter. And that’ll be out this coming year, with a lot of different ladies singing with me.

DATC: We’ll look forward to that. Just on this subject, On your website, you say talk about “my belief that the spiritual will carry you through when the physical can’t.” What do you mean by that?

Joe: Well, to put it into context, I think somebody asked me the question what was the difference between playing in church, playing gospel and playing in other styles. And I just said that the spiritual usually carry you through when other things won’t, you know. And there’s a lot of people that feel that way, there’s other people that don’t. So It think that when people have faith in whatever it is, it gives them another sort of strength in other areas of life.

DATC: Sure, sure. Now, you’ve kept a very fresh approach to the blues over the years, melding in other influences. As you look around today, are you encouraged by what you see in the blues? What younger players do you see that encourage you?

Joe: Yes, there are a lot of great young musicians that are doing a lot of great things. A lot of young people, like Selwyn Birchwood and Shemekia Copeland, a whole lot of people doing great things. Matt Schofield…everybody’s doing different kinds of things in their own way – more power to ‘em! Some are doing it a bit more jazzy, some are doing it a bit more country bluesier. But I see a lot of young people when I’m out touring at festivals and what have you. So I think music is in a good space.

DATC: Fantastic. Thank you, Joe. Much appreciated.

The Steady Rollin’ Blues Tour – Brooks Williams & Hans Theessink

Brooks Williams and Hans Theessink are seasoned blues troubadours who play to knowledgeable audiences across Europe and the United States. Brooks hails from Statesboro, Georgia (yeah, he’s got them Statesboro blues) but is now based in England, while Hans is based in Vienna, Austria.

Both are fabulous guitarists, have a deep appreciation for, and knowledge of, the blues and the social history of the blues, and are engaging and absorbing performers. Going to a concert given by either man will entertain you, challenge you, and above all, send you home satisfied with a big smile on your face.

Getting both playing together for an evening, swapping songs, alternating the lead vocals, harmonizing and trading guitar licks would be really something, then, right? Well, the two guys have embarked upon a joint tour of Great Britain this month, playing 21 gigs in 21 days. Not to be missed – check out the schedule for the Steady Rollin’ Blues Tour here.

And, be sure and get yourself a copy of Brooks Williams’ new album, Lucky Star, out in July which features a couple of tracks with both Brooks and Hans playing together.

Down at the Crossroads spoke to Hans and Brooks before their evening in the Core Theatre in Solihull and asked them about their life in the blues and life on the road…

DATC: How do you two know each other and how did this tour come about?

Brooks: Well, I’ve known of Hans since the very beginning of my career. And we did meet at the Philadelphia Folk Festival in 1996, but we met properly for the first time when we went to Dallas in 2005, at an anniversary concert for a great venue called Uncle Calvin’s. And we have mutual friends and that was kind of the connection. And then a couple of years ago I did the tour here with Guy Davis. And about half way through the tour, it just occurred to me that the audience really like it when we did stuff together – it became apparent that that was the point in the evening when the show just took off. Even though each of us could do our own thing, there was something magical happened then. So, I started thinking that perhaps this could be thought of as something that happens every 18 months.

And the first one at the top of my list was Hans. ‘Cause I just thought our styles would complement each other. And I was really excited about the possibilities. And thankfully when I presented the idea to Hans, he said, yeah, let’s go for it.

Hans: And we also said we’d not do separate sets and then two songs together at the end. Let’s do the whole thing together. So we swop songs, but we’re on stage playing together all the time.

DATC: And what sort of music can people expect?

Brooks: Blues, but a range – some country blues, a little bit of Texas blues, some of the Delta in there, some really nice Broonzy-style finger picking. Stuff that we love, and we bring it together through the process of how we interpret songs.

DATC: And when you talk about re-interpreting songs – how do you go about that, when you pick up an old blues song, and feel, yeah, that might work. How do you reinterpret that from the original?

Hans: Well, you couldn’t reproduce it. So you can only go another way. I try to get the feel of a song, try to crawl into that.

Brooks: For me, there’s usually one lyric in the song that I latch onto. I mean I’m into the whole song, but there’s usually one lyric that’s my cue. So, we’re going to do Backwater Blues and when I was doing the arrangement for that – and there are so many beautiful arrangements, there are some great ones – but the line that caught me was, I think it’s at the end of the 4^th verse, where it says there’s going to be a lot of people with nowhere to go. It’s talking about the storm and the rain, there’s going to be a lot of people homeless. So, I thought, what kind of mood would there be in the guitar part, if that’s the line you’re ultimately going to get to? And so that affected the tuning that I used, the little guitar figure. And then as Hans and I do it, Hans brought this, almost moving bass line – almost like a kind of slowed down blues bogey, like a blues shuffle. It just great. It’s got great power, but it’s got a little edge of desperation. And it was just that lyric that it should all feel like that. Now I know that’s miles away from other versions, but I really like that lyric and where it takes me.

Hans: And I also think it’s good that it’s miles away from other versions! But then we have a song like Deep River Blues, which is pretty close to the original.

DATC: So for each of you – what do you admire about the other person’s playing and performing?

Hans: Well, Brooks has this great thumping guitar style, and beautiful slide playing. We both obviously listen to the same people – Mississippi John Hurt and Fred McDowell and people like that, so even though we come from places far apart, we both have the same kind of general influence. So when we talk about music or listen to records, we obviously know the same things.

Brooks: One of the things that I’ve always admired about Hans’s playing is something I would have aspired to in the early days when I was listening to his Flying Fish record. It’s that way of keeping the bass going – either alternating bass or thumping bass – but doing lovely figures at the same time. So it’s like two or three parts all at once. It moves the way a piano player moves. I like to hear motion. And Hans has a great sense of the songs that he chooses to cover. And a great sense of bringing all this to his own writing, that same feel, that same tradition – so you can put a song from the ‘30s and a song of Hans side by side, and they sit very well right next to each other. The lyrics are poignant and relevant in both cases.

Hans: And even though a song might be slow, it’s all, like, groove oriented. Which is very important, not to lose the groove. And it might be really slow, like behind the beat, or whatever, but it’s still moving and that groove is really important. And Brooks has got that totally.

DATC: And you mentioned Mississippi John Hurt. You get that in a player like John Hurt don’t you?

Brooks: Yeah, that fingerpicking, the way the thumb moves, yeah.

DATC: You mentioned some of the country blues players. When you think back to the context in which they played, the situation they were in, the instruments they played, what do you admire about some of those players?

Brooks: One of the things that grabs me about those early blues players is that they were so far ahead of the curve, so to speak, they were creating something that really hadn’t been created before. When I was learning to play and learning to play slide guitar, there were lots of people I could get ideas from. But with some of the early players, you get the idea there might have been only one other person they possibly could’ve listened to – or maybe in some cases, no one else! There wouldn’t have been the access to records – it would all have happened because they crossed paths with other musicians.

Hans: I’m sure a guy like Charlie Patton had nobody to lean on. They just created their own thing.

Brooks: I know the world has changed many times over. But fundamentally they were trying to make their way in the world and make some sort of living, to make a way in the world playing music, and that is powerful, considering what some of those players would have been up against, socially, economically. Those were some pretty huge mountains to cross, and just the fact that they did it and we’re still listening to it. And it’s still vibrant!

DATC: So both of you play to audiences in Europe and the US – is there still an appetite for this sort of music where ever you play?

Hans: People come and like the hand made feel of things – things happening on the spot, the voice and the guitar and that’s it. And they can see what we’re doing.

DATC: And it’s real music.

Hans: And sometimes we fly off, we get into some improvised bit, and people enjoy that. They can see that its happening here and now and it’s never going to happen again. And that’s the big charm of this kind of music

DATC: What about the demographic – is there a younger audience for this type of music?

Hans: I find that the audience is getting up there! But there’s always young kids in the first row who want to play guitar and want to see what fingering you’re using. But I think the general audience is getting older.

Brooks: One of the things I’d like to see – and I’ve been thinking about this pretty seriously for about a year – how can one expose people to the wonderful flexibility in the blues so that they can see how vibrant it can be for them? It would be exciting to see it moving forward in some way – I’m not sure what that way might be. And the two things that I’ve seen in my travels that keep the blues vibrant in the ears and eyes of people is firstly, blues has such a direct link to rock and roll, so that even some kid who is 13 and wants to play rock guitar, they’ve figured out they need to know how to play blues guitar; that that’s part of the process. So that’s a cool thing. The other thing is that when you find an audience that has figured out that this music – even though it’s set in a time and place and an economic and social situation – that it’s as relevant now for people as it was back then. It’s very alive. Even though some of the language in some of the older songs may be a little bit foreign to our ears, it’s really vibrant music.

DATC: And – unfortunately – increasingly relevant in the world we’re now living in.

Brooks: Yeah, absolutely.

DATC: You’ve both had long careers. What ways has the music industry change for you as a recording and performing artist?

Hans: Well, lots of colleagues complain it’s not working as well as it used to. I must say, on my part, I cannot really complain. For my part, I’m pretty happy, but I guess for new kids starting out, it must be difficult to get your foot in the door.

Brooks: The changes haven’t affected me. I had my best year in 28 years, last year! I’m still travelling that little bit under the radar and so some of the changes that might slow some aspects of the industry down, actually don’t reach me. And because there is less opportunity to hear roots music on the radio, people go online more to listen to online radio and what is interesting is they’re getting turned on to artists they wouldn’t otherwise know of. And so I’ll show up in a little town where I’ve never been and someone will say, oh I heard you on such and such a radio station which you only can get online.

Hans: Or you get somebody from Nepal ordering a CD! You know, I think continuity is really important. To keep doing what you’re doing, so people know what to expect. And if you do quality work over the years, that’s what they’ll expect. Keep doing what you love doing. And if people catch your enjoyment, you being happy doing what you do, that really rubs off.

DATC: So on that point Hans, we’re all getting a bit older – how does touring feel compared with when you were younger, and what is it about what you do that keeps you going?

Hans: I still enjoy playing and playing for an audience. Now this tour is a pretty hefty one – something like 21 days of concerts. So it’s good that we are sharing the stage and swapping songs, so you’re not singing every song! But I really enjoy playing, and as long as the health situation is good, that’s the way to go.

Brooks: You know, for the first 10 or 15 years of my career, I had to constantly just stay on task. I don’t know whether it was just me, or the nature of the travelling, I had a young baby at home, I was married and it just seemed like a lot of burden. But what has been an absolute pleasure in the last decade has been being able to sit back and enjoy – really enjoy – what it is I am doing. And to look ahead at a year and say, “Hey wouldn’t it be great if Hans wanted to come over, and we’d do a tour, and what about three and a half weeks, wouldn’t that be great?” And if we could just dream that? And here’s it’s happening and that’s really exciting. And I feel like, if at all possible, as long as I can keep playing, I’d like to have experiences like the one we’re having now – where it’s fun, it’s interactive, where I’m learning, where I’m loving the music and the audiences. And then, after the tour is over, Hans will do some solo shows and I’ll do some solo shows, and we’ll each play with our bands – but we’ll go back to all of that a little bit richer, and more inspired. It’s like, now, I’m finally at a point in my life I can enjoy it!

Hans: It’s exciting to do things you haven’t done before. Like, when we took off last week, we just said, here’s a list of songs, you pick one, I’ll pick one – and here we go! This is great.

DATC: And this sort of enthusiasm for sure comes across to your audiences. Great, thanks guys and best wishes for the rest of the tour!