wilko johnson / joanne shaw taylor

So, on Saturday I went to London's Kentish Town Forum to see English blues rock guitarist Wilko Johnson. This has been a name that ive heard time and time again when discussions of great, or influential, guitarists has cropped up over the years but I hate to admit that ive never really taken the time to get to know his music.

When the chance to see him perform live cropped up, especially after what was thought to be a terminal battle with cancer a few years back, I jumped at the opportunity to see a man who is a part of English rock history. The few (mainly Dr Feelgood) tracks that I did know did turn up in the set, and I got to see Wilko's interesting playing style of the choppy machine gunning of his guitar first hand, and the strange walking across stage almost as if on roller skates.  The whole show was pretty to the point with minimal interaction with the crowd from Wilko, but this seemed almost part of the raw dirty style of the music played by the band. Even so, the whole band seemed happy to be on stage throughout the entire set, which bought a great atmosphere to Bye Bye Johnny playing out the show with the whole crowd singing along.

An unexpected pleasure for me, was also the choice of support. I initially went to see a band I knew little about but they came with a well respected heritage, which is what I went to see. The support came in the form of Joanne Shaw Taylor, who I knew nothing about. Joanne is an English blues guitarist and singer, apparently she's been around for a number of years with a few albums to her name and found at a young age as an aspiring blues player. Well, her performance was nothing short of fantastic. Joanne's set was complete with traditional deep soulful blues, all the way to the hard blues rock, familiar territory with the likes of SRV, full with ripping blues solos which kept both her and the crowd smiling throughout. Not that I want to compare, but Joanne's set was probably the highlight of the night for me.

Go to www.joanneshawtaylor.com for more info and check out her great live performance of Watch Em' Burn

2016

So here we are in 2016, its a new year and as the old cliche goes, a new start.

2015 was a difficult year and a busy year. The music world has lost some all time greats, most noticeably BB King and the recent passing of Motorheads Lemmy, which will leave a huge hole in the rock world.

On a positive note, some great music has been released and performed, including a new Motorhead album. Steven Wilson has gone from strength to strength with a great new album at the start of the year and more astonishing performances at the Royal Albert Hall and Devin Townsend also performing his crazy Z2 album at the UK's iconic Venue. Iron Maiden released a fantastic double album, and a personal favourite, 80's hair metallers W.A.S.P returning with a fantastic album, Golgotha.

 

 
Things at the Garage have also been on hold for a while after our own loss, but music has still had a prominent part to play even though things have been on hold. Discovering bands new and old continues to be a large part of everyday events, and hopefully there will be more to discover and share this coming year.

To get things started, heres the first track released from the Garage for 2016. 

Happy new year, have a listen to Chapter Two...

the midnight ghost train redefine the video promo

Whoever thought out and directed this video for The Midnight Ghost Train's new album should really get full credit for lifting what could have been the usual album teaser into something of milestone in video promotion.
As the band put it themselves -

"Now this is not your typical album promotion film. This is not NOW THATS WHAT I CALL MUSIC VOLUME 53. This is very different from anything else out there. Us and Breaker Box Productions, worked our asses off on getting this to look and be as awesome as possible."

Not a word exaggerated there either. As one You Tube comment questioned "Why can't more bands do this?".
The fact that it's come from the unlikely source of a heavy rock blues trio only adds to the intrigue. Heavy rock blues hardly being known for it's artistic leanings and like any heavy rock/metal audience it usually know's exactly what it likes and expects nothing less.
That even bares out to some extent in this case as a minority of usual hard core thick headed fans have disliked this video. Happily a far larger amount like the end result. That at least shows this rare breed of heavy blues audience are not just content with the predictable.

And this bit of album promo is certainly not predictable. It starts like something set in Paris, Texas with a rural farmer who could have been alive in any decade since the Dust Bowl. His world is as much of silence as it is the early origins of the blues music that sprang from the land a 100 years ago. His vacant stare betrays nothing of his thoughts as he goes about his business in the modern world. The rest of the story is for the band to to tell.

Make no mistake this is not just a video promo for The Midnight Ghost Train's 'Cold Was The Ground' album but a genuine short movie at 4.56 minutes, and brilliantly entertaining
Pity some full length films weren't this good.

'Cold Was The Ground' (great title by the way) is not due out until February next year. See the bands website for further details.

jack bruce RIP

Saturday's BBC radio midnight news led with the announcement that Jack Bruce had died. It had previously been put up on Sky's rolling ticker earlier in the day but outside of that there was nothing obvious on the passing of one of the UK's leading musicians. It seems when the rock and roller reaches a certain age his stock reduces considerably in news worthiness until reaching that dangerous age of 70 their death is expected anyway. And if in life you've been fortunate/unfortunate enough to claim your 15 minutes of fame then it's certain that on your demise that stock will be reduced to just the 15 seconds when it comes to announcing your lifetime achievements. Anything longer is usually determined by how much filthy lucre the taxman has been able to drain from you. In other words your commercial success is worth great respect. You might even get a knighthood if you've really sold big overseas.
And be sure, in just those 2 blitzing years of Cream's life, Ginger, Jack and Eric certainly shifted some units. 35 million of them to be precise. But despite this avalanche of sales the journey of Cream was going to be inevitably short lived. The chemistry between Ginger and Jack was nothing short of dangerous, on and off the stage and Eric has said many times he just had to stand back, mediate if possible, but in the main keep out of the way of likely flying fists, on or off the stage.
Maybe it was that explosive potential that made Cream what they were between 1966 and 68, maybe it was the letting loose out of musical frustration or the joy of the musical freedom that made them far less a pop group and more akin to a full blown improvising jazz combo. Rarely playing anything the same twice and joyously tearing into their biggest numbers. They were unpredictable, demanding and simply a mind blowing stage act. Go and watch Cream's 1968 Farewell Concert at the Albert Hall and see if any band today come close to the shear energy and power these three guys could put out.
The seated audience watched intently until during mid way through the bands hi-octane jams individuals could no longer contain themselves and burst into a frenzy of freak dancing as if posessed by another world entirely.
The later 2 reunion concerts were quite good because they were well seasoned veterans by then but also seemed more the result of agreed group therapy for them to even be performing together and hence lacked that violent confrontation the music had in the 60's.
Then the sound of Bruce's soaring and plaintiff vocals reaching notes barely possible for most rock singers and against the wall of sound that the band produced has rarely been heard or matched since. Many have tried but don't have the lung power or that wall. Either way those bands go their own way and producxe a less volatile end result. Today Muse go for a similar approach and many like what they hear, (very big on the continent), but Muse are not improvisers and risk takers. They produce' a show. Cream took a show apart.
And although Cream were full of blues they were really the first to be put in the record rack as 'progressive' music. Er.. that's not 'prog rock'.

Maybe it was that Jack Bruce was classically trained as a cellist that shaped his vocal style. The cello is not overly associated with the most cheerful of sounds, but a natural slow blues meloncholy. Just listen to Wheels Of Fire's "As You Said" to hear Bruce singing with his cello to get a better idea of where his songs have often begun.
And then there's that bass playing. His early years playing jazz double bass must have given those fingers the strength and dexterity to make an electric bass perform in the way Bruce could do. In Bruce's mitts the bass became virtually a lead instrument, inter playing with Baker's ever evolving kit playing and Clapton's weaving lead lines. This again is usually only heard with jazz players. For rock musicians in 1966, it was unheard of.
Even Hendrix payed deference to the bands style and songs in that famous LuLu show appearance in 1968 when halfway through 'Hey Joe' he unexpectedly announced he'd had enough of playing that and dedicated a version of "Sunshine Of Yor Love" to the band, sending presenter and TV crews into a tail spin.
Cream, although now ex-Cream had been recognised by all media circles as the first Super Group. An expression much bandied around in following years but rarely produced anything very "super" in the way of recordings. It was a time when a certain amount of freedom was being experienced for rock musicians, similar to how jazz groups had always seen their personal change over the years, reforming into new groups. But with rock musicians this was a new thing. The music press loved it, the rock audience less so.

After Cream's demise, Jack Bruce unlike Clapton and Baker persued countless other musical styles and never seemed bothered as to whether they gained commercial success or not. Although it's completely understandable that Clapton wanted the calmer waters of touring with Delaney and Bonnie before stepping back into his own group again.
Artistically Jack Bruce's many projects were fabulous explorations. His outstanding work on Carla Bley's 'Escalator Over The Hill' in the early 70's. Michael Mantler's setting of music to Samuel Beckett's words with the album 'The Answer'. Working with Tony Williams Lifetime again, not to mention his own considerable solo albums and his continuing partnership with his lyricist Pete Brown, who'd previously co-written "Sunshine Of Your Love" "White Room" etc.
Hugely respected amongst other musicians, some say Jack Bruce was the greatest electric bass player of all time. Certainly rock bass player.

It's really difficult to pick just one clip of Jack Bruce's music because he's made so much, and really good stuff too, but his first solo album 'Songs For A Taylor' was a milestone in an outstanding career and the one track from that solo album that seems to summarise his shear energy and aspiration to explore the most he could in music would have to be "Rope Ladder To The Moon", with Jack's soaring vocals, Pete Brown's amazing lyrics and of course that incredible bass playing.

So long Jack... you made a difference.

very cool kat

Well here's a rarity.. a new blues band coming from the UK in 2014. This most unlikely of occurrence's comes at a time when the land is still completely obsessed with vaccuous voter pop, and little else making an appearance on national screens, a short clip appeared on a London new's channel of a little heard band called Kat&Co. Closer inspection of these kat's reveal that the lead singer is Kathleen Pearson an American blues singer with some background in some club tracks but now fronting her new found partners in blues from the UK, and likely a little further afield judging by the names - guitarist Francesco Accurso, pianist Federico Parodi, bassist Vincenzo Ettore Virgillito and Nicholas Owsianka on drums.
Earlier this summer these four produced a socking good single and video called "New Spleen Blues".
The video animation made by the pianist Parodi is a bit good too. Visually along the lines of Damon Albarn's virtual band 'Gorillaz', more club influences you might think, is cut with studio takes of the band recording and generally hanging loose in the studio. But that's where the "club" influence ends because they make a very tight and sleek approach to the very old 12 bar format.
And these guys can really play, and Kathleen has one great delivery. If they don't disappear in the mass swamp of ignorance in todays music, or get shunted off into a world of small gigs, they ought to really produce some good sound in the future. For gawds sake will someone put them on BBC2's Later with Jools Holland and give them some coverage to a rock audience.
Here, Kathleen (Kat) spits out her grievance about living in the modern world "I don't matter to you.. and the blues is dead" "with your fix and feeds and daily blogs and tweets". Wow.. and a blues song about what's relevant today? That was how it all first started wasn't it..
Sing it Kat.

glenn cornick RIP

It was somewhat belated news that one morning newspaper obit announced Jethro Tull bassist, Glenn Cornick, had passed away on August 28th.
If Jethro Tull had a golden moment it was surely with their second album 'Stand Up', where the band still in their early years captured a stand out performance on just their second LP.
Cornick had been an original member of Tull then being led by ace guitarist Mick Abrahams who were working over some driving blues rock around the small gigs and colleges with their first album 'This Was', it's notoriety due more to the cover photo of the group.
After the huge success in the UK with their single "Livin' In The Past " and an outrageous performance on Top Of The Pop's the music and image was an instant hit. Cornick being immediately recognisable with the head band and glasses and just as much an essential part of the bands rag bag persona.
By the second album 'Stand Up' in 1969 their sound was now a clever blend of blues and the new progressive rock surfacing in the UK and produced some genuinely fine musicianship delivered with at times fierce conviction. The rhythm section of Clive Bunkers and Glenn Cornick was particularly central to the quality of the sound.
With the inventive songwriting of Ian Anderson now elbowing Mick Abrahams from the band by "Stand Up" Jethro Tull were now hot news. In 1970 they were performing on the Sunday night at the 1970 Isle Of Wight Festival, by November that year and after finishing a successful tour of the US, Cornick was sacked. Rumours abound as to why but in truth no actual explanation was given. Not even to Glenn himself who remained mystified to the end. The last album he was to play on was Tull's third, 'Benefit' and given that it was released around the same year as his departure made it an equally odd move by the management or shall we say a true rock and roll bass player did not fit comfortably into the Anderson scheme of things.
Watch this great 4 minute video of the whole shabby affair. Glenn always was good value in interviews.

He went onto form 'Wild Turkey' and released 3 albums in the 70's without too much fuss but the band toured Stateside supporting Tull on some tour dates before calling it quits in the mid 70's. Wild Turkey did make it back one more time in the 90's and for the last time in 2000's recording two live albums with his old mates, one of which was Clive Bunker.
He died in Hilo, Hawaii of all places, that's along way to go for a guy from Barrow-in-Furness. Some journey.
Here's the Cornick pile-driving riff kicking off Tulls "A New Day Yesterday" from 'Stand Up'. And that album sleeve.

johnny winter live in copenhagen 1970

Since Johnny Winter passed away in July there's been some interesting videos appearing of his live performances over the years, but there are none more remarkeable than this 20 minute live performance filmed in Copenhagen in 1970. The venue is an initimate cellar or club setting obviously picked especially for the occasion and the audience is closely seated at tables and chairs just feet from the performers.
Don't be misled by what appears to be the passiveness of the young 'heads' watching this, they sit with quiet and rapt attention witnessing a unique performance of Winter in his prime that none there could possibly have fully appreciated at the time. From Texas to Copenhagen in 1970 would have been like a visit from anothert world. Remember this is recorded just 12 months or less after after his legendary 'Second Winter' album and his performance at Woodstock.
It gives us a front row seat view rarely recorded on film of one of the great guitarists of the era. There's even a sighting of Winter's 12 string Fender strung with 6 strings when at the 15.20 mark he switches to slide and plays an extended version of 'Mean Town Blues'. This is the same Fender he played on the storming version of Highway 61 studio version on Second Winter.
The picture and sound quality is so clean you'd think it was recorded last year. The magnetism and energy a Johnny Winter performance was, is all here. It's now a truly remarkeable piece of history.

A series of Johnny Winter Remembrance Shows have been scheduled over the coming months in the States.

Sep 06 – Granville, OH – Hot Licks Blues Fest with guests Sonny Landreth, and Lance Lopez
Sep 10 – Mystic, CT – Olde Mystik Village Theater with Debbie Davies, and James Montgomery; plus a screening of the documentary
Sep 14 – Middletown, NY – Brian’s Backyard BBQ with Gary Hoey, and Montgomery; plus screening of the documentary
Sep 18 – Norfolk, CT – Infinity Hall with Davies, and Hoey
Oct 10 – New York City, NY – BB Kings with Davies, Lopez, Joe Louis Walker, and Montgomery; plus screening of the documentary
Nov 21 – Fall River, MA – Narrow Center For The Arts

keep taking the 'blues pills'

There's something very unique about how the new musicians coming out of Sweden are examining the roots of 60's and 70's rock and creating their own footprints in the genre.
The debut album by Blues Pills is further proof of how that classic era of rock is shaping the sound of so many of the new bands in Europe. And the quality of the musicianship and production in Sweden as we know is really high. One proviso to this is Blues Pills are an American-Swedish-French group from Sweden.

Since their first single in 2011 Blues Pills have received some spectacular praise. You hear them and you instantly see why they've turned so many ears. What's more they're young. (bet their sick of hearing that).
Elin Larsson - Vocals, Dorian Sorriaux - Guitar, Zack Anderson - Bass, although there doesn't seem to be a regular drummer at the moment. In 2011 their sound was more hard blues rock, in 2014 and this first album it's more of a psychedelic blues rock. Which figures given current trends especially departing Sweden over the last year or so.
Put them in an interview and they'll talk about the album sleeve artwork as happily as their music, which by the way was designed by Marijke Koger-Dunham, who designed clothing for The Beatles and Cream. See the heritage there? You will on the album cover.
Their influences are more than obvious once you hear the sound. And you'll probably figure a few more they haven't even heard of yet.
Look, the best thing is hear it and you'll get the drift instantly. Here's the first single back in 2012.

So now you've figured that's one hell of a pair of lungs on vocalist Elin Larsson, and the guitarist and bass player are way sharper than they should be given they've only been around for one limited tour until now.
And you can also figure that Nuclear Blast records are hopping up and down with delight over securing this bands first album and just how this band are going to impress. Check last years live version of Black Smoke.
The self titled 'Blues Pills' is available now in Europe and the UK, and is available in the States from August 5th. See Amazon
What's more Nuclear Blast have streamed the whole album.
This is probably one of the finest debuts of any band in decades.

johnny winter gone

photo © Legacy

Only the other week we ran a post on the trials of reaching 70 years old in rock and roll and still touring. (post : a dangerous age for rock and roll) . Then if it wasn't sad enough to be given the news the Tommy Ramone had passed away last weekend, be it at the slightly earlier age of 66, we now have this mornings statement from Kid Logic Media that the legendary blues man Johnny Winter passed away last night in his hotel room in Zurich, Switzerland, age 70.

The Texas 'White Lightnin' as he was nicknamed, Johnny Winter was one of the most enigmatic and exciting live performers that blues and rock music has ever seen. Despite the many years of hard times in his life with him being stuck at the pointed end of serious drug addiction, mainly encouraged by his filth of a long time and exploitative manager, in the later years Johnny was rescued from an even earlier demise by his new found manager and guitarist, Paul Nelson who got him back to a drug free life and helping him relaunch his career. Maybe it was this second life with his music that Johnny found he could never abandon again as he toured consistently there after and for the last decade.
His early years in Mississippi Delta following in the footsteps of his blues heroes were spent dueling it out in the Southern blues clubs or what was then clumsily called 'the Chitlin' Circuit' and as equally daunting being the only white blues player. He sat in with legendary names Muddy Waters and BB King in sessions and held his own. BB King tells a story of him being brought on to play, (paraphrased) "some white kid?" "within minutes you knew he knew some stuff".

By the time Winter sprang his band on the 1969 Woodstock audience his performance was electrifying. This was a truly sensational guitarist and only equaled by Hendrix in the mastery of redefining what the blues was to a new generation already absorbing Clapton, Page, Beck etc.
His classic second LP release and double album 'Second Winter' was as much progressive blues as it was powerful rock, although he always saw himself as a blues man only, the sound of Winter's electric slide guitar and Texas drawl was as familer a sound as Hendrix's wah pedal by 1970.
There were performances that went down in rock history, The Fillmore East, The Albert Hall, even on television in early 70's 'The Old Grey Whistle Test' with the band playing "Jumping Jack Flash" live. From his early days to his last Johnny Winter has inspired generations of young guitarists to listen and explore blues playing for themselves.
Want to play some Johnny Winter blues on your guitar?

Here's some fine examples of his tunings in action - "Dallas" (open G), "Mean Town Blues" (open A), "Highway 61" from "Second Winter, "Mojo Boogie", "Stranger Blues" (open D), or the red hot version of "Highway 61" from "Captured Live", or "Let It Bleed" (open E).

And that is the greatest gift Johnny Winter leaves us.
So long Johnny.

Here's Dylan's masterpiece 'Highway 61 Revisited' in the hands of a master.

the blues ain't finished yet

Somethings seem to never change.. and thank the lord of blues it's the sound of John Mayall's voice. The man has recently turned 80 years old and few artists will ever come close to maintaining the strength of their voice as Mayall's instantly recognisable vocals have done. Never mind the shear body of work Mayall has produced since the early 60's days of gigging around the UK in a van, listening to his new album 'A Special Life' dissolves those decades as if they never existed.
Ever since his early albums, Mayall has never shied away from writing lyrics that not only reflect his life experiences but also making a personal comment on the times he lives in. Not for him does he churn out a history of blues cliches, his mission has always been blues as truth and his latest outpouring is right on the money. Just hear how simply he sums up the whole stupid mess of a world today in "World Gone Crazy". Then in "Just A Memory" how wonderfully and sensitively he sings a lament to a love lost in times long gone. It's achingly tender delivery reaches some breathtaking notes.
The band is as rock solid and expressive as ever he's had. But then Mayall's always searched out the best players and drilled them with precision without losing any of the feel of the blues. His harmonica playing is as ever from the top draw of harp playing and there's a fantastic example again in "World Gone Crazy".
Even the cover of the new album has a picture of one of his hand decorated guitars he's always been famous for, and who can forget that one on the front of Diary Of A Band (above)
Today, blues is not trendy or even popular with a UK audience, save for perhaps Seasick Steve turning out at festivals, but if it hadn't been for John Mayall and his blues mission some 5 decades ago and how it shaped the way rock music was going to be heard there would have been countless bands lost to exploring what?.. Pop?
John Mayall's 'Special Life' life does indeed need celebrating.
Here's a playlist of 4 tracks from the album. They'll play consecutively. Press 'Play It All'
World Gone Crazy
Just A Memory (A Special Life)
Like A Fool
Speak Of The Devil

jack white solo quarantine

Always intrigueing to hear where Jack White's going to take his blues next. This preview track from the forthcoming second solo album 'Lazaretto' (out June 9/10) is a daring raid on some classic blues riffs. It's a heavily gated and looped affair with an alarming hook. You do wonder where the track will go next as it stutters, turns and repeats the licks, but White's a clever so and so with a mixing desk as well as a guitar and he finishes full circle without losing control of any of it or his arsenal of players.
By the way a "lazaretto or lazaret is a quarantine station for maritime travellers".. yes that would about explain Jack White's view all right.
The album will arrive with a dizzying array of doodads if you want the vinyl. You'll get it at his website one would bet.

As part of White’s Third Man Records Vault series, the label will issue Vault package No. 20, which will include a special limited-edition version of “Lazaretto” pressed on split-color blue-and-white vinyl, exclusive album art, a linen letter-pressed postcard, and a fold-out poster featuring a classic National Archives photo that serves as a recurrent image throughout the album art.
The package will also feature a blue 7-inch single featuring two early demos of songs that appear on the new album: both "Alone In My Home" and "Entitlement" are solo recordings by White while he was in Mexico.
A bonus item is a lavish 40-page hard-bound companion piece book full of lyrics, exclusive musical notations, photos and art from “Lazaretto.”
Hennemusic

(And you can do the sputtering speaker trick in the video by mixing up a thick solution of Corn Starch and water and dumping it on your favorite wqoofer. They did it on QI and 'The Big Bang Theory' years ago. Kinda gooey fun though.)

brian jonestown massacre blues

Brian Jonestown Massacre's Anton Newcombe speaking at the end of 2013.

“One of these days, you see it’s probably not going to happen by this next record, but maybe the one after that … I’m going to make a record that sounds fantastic. That really sounds fantastic...
It’s about being in the digital realm. When we’re in the studio, the stuff sounds way better. When we send off the WAV files to the record plant, it sounds one third better quality. And the whole industry now is just based on fudging that sound, compressing it, tweaking it in a certain way for earbuds and all that crap. But one thing I’ve never done, because I’ve always dealt with conceptual art, is finished all the words. And I’ve never made things just immaculate to a level where I’m totally happy with it.”
FASTER LOUDER

Well fare enough he's speaking plainly and that can't be faulted, but it just might be a pretty cute way of deflecting too much expectation from the new album due this year.
If so that's failed, this track is a preview from the album and it's peaked interest anyway. It was also used as a split single with their support band on the Australian tour at the end of last year. That piece of vinyl 45 will be already have reached collectors sticky fingers by now.
Most surprising of all though.. he's gone and written a blues. It's good as well.
'Days, Weeks and Moths'
.. ha

john mayall back on the road

Yes, John Mayall is back on the road. At 80 years old!
After a dozen gigs this January in the US the tour picks up from February until April with an extensive date sheet in Europe. An unbelievable itinerary for the septuagenarian (oops... sorry that will be an octuagenarian).
In a recent interview -

"People keep saying how impressive it is to go back on the road, but it's old hat for me...
In many ways I feel better equipped to play - as you get older, you hone your craft"
(Uncut Mag)

The blues have obviously been good to the man who has inspired countless musicians over the years and his audience of all ages are still packing out the venues. See his website for all dates.

Here's a rare video of Mayall and the Bluesbreakers on the short lived US TV show 'The Music Scene' first aired in 1970. How this clip survived is rare enough but it's also one of the best videos of The Bluesbreakers post 1969 classic album 'Turning Point'.
"When John Mayall was starting another band after the break-up of the Bluesbreakers in May 1969, he decided to have a band that would play "low volume music" – or music without "heavy lead guitar and drums". (WIKI)
The personnel then was
John Mayall - vocals, harmonica, slide and guitar,
Jon Mark - acoustic guitar,
Steve Thompson - bass,
Johnny Almond - tenor, alto saxophones, flute

Mayall's lyrics have never been afraid of social and political comment like so many of the traditional blues players and with this song 'The Laws Must Change' he mentions the US radical comedian of the times Lenny Bruce.
Here's an excellent point made on the comments of the video from a 'Jane Millerick', she says -

"for anyone who wasn't around then he (Mayall) was referring to a number of laws:
...specifically references Lenny Bruce who was allegedly set up by the LAPD with bad heroin ostensibly for his open criticism of corruption in government and unjust drug and obscenity laws ("How To Talk Dirty And Influence People"). This song had broad relevance then as it does today."

also in replying to a previous comment 'Kingscrib' added

"...making a comment on the civil rights violations which were rampant at the time. Like he (Mayall) says, "the laws should fit the crime'. I'm guessing you weren't alive back then, through the civil rights era of the late 50s through the 70s when things were changing quickly but there were still serious violations of civil liberties. Especially on students who were protesting the Vietnam War and the murders of JFK, RFK & MLK. John was just making comment about the life & times."

Here then is 'The Laws Must Change' from the album 'Turning Point', as bright and relevant today as it was then, with the added rare curiosity of hearing a flute and an harmonica play off one another. Superb stuff,

robin trower roots and branches

We do hope Robin Trower is OK. All his US dates were cancelled in 2013, the UK and Europe dates were due to be rescheduled this autumn but his web site still has no news for 2014.
There is word that he was in the studio in November with Jack Bruce.. wow! the outcome of that will move mountains, but nothing is confirmed yet.
He was in terrific form for his last album 'Roots and Branches' released earlier this year. (Available from his site TrowerPower)
In today's world Trower's guitar sound is a dark storm blown in from another time. Check this track with some mean vocals by Richard Watts. "See My Life" has to be one of the guitar solos of the year. Stunning.
Autobiographical lyrics too.

See my life as one long day,
Evenings passed and midnights on its way.
Many treasures still lay buried
That may be how it should remain.
And though the light begins to fade
I may have time to turn one last page.

See my footprints in the dust,
Faded now the hands to touch.
Across the face show scenes of loss
Backward stare, fingers burned.
Maybe one bridge too far,
But I just wanna play my guitar.

See that train that I rolled on,
Well, it went down a dark place.
Ran back home before too long
The heart would not survive the chase.
Eyes that see the future clear
End up now a million miles away from here.

rare and bizarre 'taste' promotional video

This has to be one of the most bizarre promotional videos made by a rock band, that it was made by Rory Gallagher's blues rock trio 'Taste' is even more unlikely.
Here's the background. The self titled debut album in 1969 had first brought this new super guitar talent of Rory Gallagher to the attention throughout Europe and America. The group, Rory Gallagher, 'Charlie' McCracken (bass) and John Wilson (drums) had toured extensively across the continents. The bands label, Polydor Records, were rubbing their hands together for the second and highly anticipated release in 1970 and 'On The Boards' duly delivered a further set of Gallagher originals and a blues classic in the same way as had the first.
Although the exact release date of 'On The Boards' isn't published it's possibly April / May time with the following touring wheels in motion for the UK and Europe culminating in the appearance in late August 1970 at the Isle Of Wight Festival.

Obviously it was during the European stage of the 'On The Boards' tour Taste filmed a one off promo for German television. Their were only two singles taken off the album one of which was a Spanish only release "If I Don't Sing I'll Cry" backed with "I'll Remember" but it's assumed German and not Spanish television had chosen the B side "I'll Remember" to feature this promo of the band.
Made on quality film stock it has some rare professional footage of the band playing live at looks like a festival, intercut with a story line that pits an old generation at war against the young generation. There's nothing particularly unusual about that given the 60's had a lot of similar imagery but what makes this so crazy is the depiction of this Colonel Blimp like character and his shear vengeful hatred against this perceived anti-establishment young people, namely the band.
It seems in Germany the 'humour/satire' was a little more on the nose than in the UK where this type of imagery was pretty old by now, but how the humour extends to scenes where the story includes passers by being shot is veering towards the sadistic.
The closing scene of a group of children singing some sort of weird 'order' song,

Half ones live according to the order wolln(?)
We strive for the order wolln(?)
We strive order are the half live

OK, that may be a poor translation but it's damn weird. Anyway at the completion of this little rhyme the Colonel Blimp character salutes and then unbelievably the band make an appearance other than on stage performing.. yes they actually play act the very last part of this fiasco. And yes it really is Rory Gallagher at the end with Charlie McCracken just behind him.

The soundtrack, oh yes they even meddled with that, adds a further unwanted dimension with the added sound effects only compounding the mess.
Given the type of character Rory Gallagher always seems in interviews or stories about him, how he ever let this go out is equally as mystifying. This from a man who stubbornly refused to release singles throughout his solo career.
Yes there was the success of the Isle Of Wight Festival that followed, but that was it for Taste it was the usual musical differences press release and they never performed together again. Rory probably never got over this promo.
Just think what an archive treasure they would have left us if the film makers had just recorded the group on stage as you'll see in the shots here. To this day live film of Taste to this quality is extremely rare.
One other final denouncement of the whole sorry affair, the uploader has decided to plaster his name "Durchalten" over the bottom of the video. But we probably ought to thank him for even having a copy in such good condition regardless of the ridiculous concept.
Prepare yourself. How to ruin one of Taste's great tracks.

gary clark jr rocks the BBC

Just excellent to see Gary Clark Jr and his downright wicked band in the UK this week. Appearing on BBC television (Jools Holland - Later) it was the first time many music fans had even heard of the man and it had a real impact for many judging by comments left on Gary's Official video of his latest single 'Numb', which he performed on the show.
Like many great players he wasn't content with performing a carbon copy of the recorded version and gave us a new reading of the thunderous track 'Numb' along with his last crunching single 'Bright Lights'.
Cries of "the new Hendrix" have circulated the comments since but they can be forgiven at a time in the UK where a new breed of guitar hero is virtually extinct.
Alex Turner of the Arctic Monkeys also on the show and being interviewed shortly after Clark's earthquake rendering of 'Numb', looked and sounded slightly shell shocked from a close hearing of the Texas gunslinger. There's no shame in that though.
Here is the ground shaking sound of Gary Clark Jr's band on the show. Turn it up.

a pigthology

Coming out of the late 60's blues boom Mick Abrahams was one of the founding members of Jethro Tull recording their first album 'This Was' in 1968. As Tull moved further away from their original experimental blues sound Abrahams became disillusioned "I was fed up with all the nonsense, and I wanted to form a band like Blodwyn Pig".
The unforgettable cover of the first Blodwyn Pig album was unmistakable and stood out in the racks of rock vinyl tempting many new listeners to find out just what was the music symbolised by a pig wearing shades, headphones and smoking a spliff. It summarised the time perfectly.
What they were going to hear was an album that had all the earlier 'Tull' blues with an added drive to the song arrangements that made the band one of the first groups in the UK to be seen as progressive rock.
Mick Abrahams also had the knack of turning out a memorable tune and in 1970 with "Same Old Story" had a stand out hit single of the time. Along with the defining first album they toured the world the same year supporting some of the big name rock bands of the time.
For a band that had much anticipation for the future recordings and tours the biggest surprise was after a less successful second album it all just vanished, Mick then going back to his blues roots and a solo career.
But still that first album 'Ahead Rings Out' stands the test of time and has gone on to influence many over the decades. Now comes an exciting release for "Pig" fans with 'The Blodwyn Pig Compilation Of Rare Unreleased Recordings ‘Pigthology’.
Yes, what else could it be but a Pigthology... featuring re-mastered recordings of the band's most beloved and successful songs "Dear Jill" "See My Way" "Drive Me" and previously unreleased material.
And unlike most bloated high price reissues you can pick this one up for 9.99 (UK). An absolute steal for a piece of rocks piggy history.
Long live Blodwyn Pig ! Buy it here
Here's "Sing Me A Song That I Know" from 'Ahead Rings Out'.

macca on the colbert report

On June 13th the American satirical late night television program 'The Colbert Report' (with Stephen Colbert) broadcast an hour long show featuring Paul McCartney describing his music career with the Beatles and Wings, finishing up with his band playing live.
For those that saw the Rockshow post a week ago, on the 1972 show of Wings in concert it might have come as a surprise to see just how hard that band did rock back then. Now some 40 years later, many have their doubts as to how the now 71 year old (2 days ago) can keep the music rocking?

Hear this band playing 'Birthday' on the 'Colbert Report' and you'll wonder what all the fuss is about with old rockers visiting their old songs. With it's classic 12 bar sequence it's also a reminder McCartney was as cute as it gets in working a song form from anything that took his attention, whether it be from rock and roll, 1920's music hall, classic ballad or as with 'Birthday', a blues.
So how's that raw rock and roll vocal able to stand up on this belter?
With some recent open air performances, like the Olympic Games opening ceremony, it was showing signs of age but in context it's going to take most singers a song or two to find their voice when pitched cold in an outdoor venue, so judgement based on open air performance is somewhat unfair.
But here in the confines of a TV studio and no doubt plenty of warm up time McCartney shows just how strong the voice still is and defies his age once again (there has to a portrait somewhere in his attic aging drastically).
There's also that familiar Hohner violin bass with it's fat beat era sound, and a style of playing that has become admired by other musicians more and more as the years have gone by. You have to ask why haven't more bass players used a Hohner? Maybe the image of the violin bass in McCartney's mits is so fused in the mind know one can quite face owning one.

Then when it comes to driving a song like 'Birthday' you need a big back-beat, and it doesn't come much bigger than the mighty Abe Laboriel, Jr.
Laboriel has been holding that drum stool firmly in place with McCartney since The Concert for New York City in 2001 and has played on every tour the band has played since, and also provided a substantial backing vocal while beating the daylights out of a song.
You want rock steady power? Abe Laboriel Jnr is as good as it gets.
All together this is as tight and punchy live band as you'll hear.

guitar shorty

This is one fat-toned guitar mother. Guitar Shorty takes one of the blues classic riffs and pile drives it through the floor.
'I'm Gonna Leave You!' from his latest album 'Watch Your Back - Texas Blues Guitarist'
Play it Shorty. Play it loud.

hendrix's 'easy blues'

Taken from a series of instrumental jams and improvisations in 1969, 'Easy Blues' is a rare sight of Hendrix beginning to experiment and find some foothold with jazz.
It's well documented that he and Miles Davis had discussed music and even a possible recording session together before it's said, that notion dissolved into demands for "upfront cash" from Davis.
After 20 years of basically being ripped off by record companies Davis was cute to the industry by the time the Hendrix negotiations were taking place and he also new rock had one major difference to jazz by 1969. Money.
Miles Davis goes on to hire John McLaughlin for his innovative new era of fusing rock with jazz in the shape of the album Bitches Brew, but as you'll here in 'Easy Blues' there are more than enough glimpses of just what Hendrix would have sounded like if that liaison had succeeded. With a walking bass so often used in jazz laying the background to Hendrix's floating lead lines, sounding not unlike Davis's trumpet licks over a loping rhythm, he resolves them into a free formed chopped rhythm which sound at times uncannily like McLaughlin on Davis' Jack Johnson (preceded Bitches Brew), that too played over a walking bass line.
'Easy Blues' is included on the most recent Hendrix album of unissued sessions "People, Hell & Angels" (2013), and if the sum of that is one more release in the exploitation of the mans name at least the track 'Easy Blues' is an idea of how Jimi's music might have evolved from 1970 onward.
It is as always, a glimpse of a master at work.