Tag Archives: blues rock

Rock and Roll Survivor: interview with Del Bromham of Stray

Interviews, Music culture & history, Rock music, , , , , , ,

Following the re-release of his solo album Devil’s Highway on 2nd January, I catch up with guitar legend and founding member of Stray, Del Bromham. We talk about the making of the album, growing up in a home filled with music, the ups and downs of the music industry and why there’s been renewed interest in Stray, post-pandemic.

So firstly, I wanted to ask about the re-release of the solo album Devil’s Highway. As a solo work, that’s more pure blues rather than the bluesy hard rock that Stray is best known for. When you were a teenager growing up, were the traditional blues artists always important for you as well as the R&B bands like the Yardbirds and the Pretty Things?

I must admit, I have to say I was a bit of a late starter on it. Although, having said that, there’s a track on the Devil’s Highway album called ‘Careless Love’. Now, I had music in my house as a kid because my dad belonged to a record club and liked various music. And as I mentioned before, I think sometimes he would order these things. It was probably out of the back of the News of the World or something like that. And he’d have like two or three EPs turn up and it might be, you know, My Fair Lady, some obscure orchestra but one of them I remember as a kid, six or seven years old, was an EP by Big Bill Broonzy. And ‘Careless Love’ really stuck with me all the way through. So, when it came to recording the album, I thought, well, that’s my starting point. I’ll do that one.

But going back to your original question, You’re quite right. I mean, in the ‘60s, I was listening to the Yardbirds, the Pretty Things, the first Stones album. I remember I used to go around to my mate’s house, and his older brother had these so while he was at work, we’d play them. And then I got into John Mayall. And I guess it was through the British invasion, as it were, doing the blues, that I thought, well, where did they get this from? And then I slowly began to compile it in my head, if for want of a better word. Now, I was a bit of a late starter, so I wasn’t really into the authentic blues, probably not until 2000s when I actually started doing the album. And I started, like a journalist, doing research, as it were.

Del Bromham: publicity shot

And that was around the time you were touring with Leslie West, was it?  

Well, I did it just before. I started thinking about it in 2003. And in 2004, I had actually done the album. And then my then tour manager, Paul Newcombe – I’d already done a couple of tours with Mountain – and he met Leslie on one of the tours I did with Stray. And then, of course, when I had the album ready, he suggested to Leslie that he come over and do a tour because he had his Blues to Die For album. And Leslie being Leslie said, “Yeah, great” And Paul said, “Just come over with acoustic guitar.” He said, “Just me and an acoustic guitar?” He said, “Yes. Tell your stories. Del does it.” He said, “Well, if Del will do it, I’ll do it!” So that’s how that happened.

So then, of course, we had the album, but no label. Paul’s little company at the time was called Trigger Happy Music so we put it out on Trigger Happy. It wasn’t a general release. It was to sell at gigs and then a little while after, because of the interest, I then got a deal with Angel Air Records, who did Nine Yards. And then the boss at Angel Air said, “Oh, you did another one before, didn’t you?” I said, “Yeah.” So, he said, “Well, have you got any extra songs we could put it out with bonus tracks on?” Then it came out again.

Well good luck with the album. I’ve been playing it and really enjoyed it. And you’ve mentioned it already – it’s a big theme in your autobiography, Rock and Roll Survivor – you talk very fondly about growing up in a house filled with music. That was clearly very important in shaping your direction in life, not only from your parents but from your brothers and so on.

Yeah. Yeah. Yeah. It’s surprising actually because I would recommend anybody to write their biography. I recommend it because it wasn’t really until I wrote it down and read it back. It was then I realized how important my family had been to me and music. I know I’ve written it, but it is difficult to put into words because, and there were various things, always having music in my house. Silly things like my mum going around the house singing and dusting at the same time. Playing in my brother’s group was a great thing to do, particularly as I was only about 14 years old. So, the family were very important to me and my brother was probably my biggest musical influence.

Obviously, things started to take off for Stray in the early ‘70s but by the late ‘70s, there’s repeated setbacks for the band. And you talk in your autobiography about your life as a musician becoming stressful, not pleasurable and then you went out and got a normal nine-to-five job. How frustrating was that at the time or was it just a matter of getting on with life and you deal with things as they come?

A little bit of both actually and I think it was once again down to my family. Winding the clock back, when I was 15, I didn’t want to stay on at school but myself and a couple of friends, we were all going to go to art college. That’s what we were going to do. And Pete Townshend up the road, he was going to art college as well. So, we thought, well, I’ll go to art college. But long and the short of it was that I didn’t get into art college and I was very disappointed. And I can vaguely remember the conversation. Well, you’re not going to art college. And my dad just sat there pontificating in his armchair. And he said, “Well, you’ll have to get yourself a job then, won’t you, boy?” I went, “Eh?” So, he promptly pulls out a copy of the local paper and goes all down the job vacancies there. But, you know, that was kind of, well, no-one owes you a living, you’ve got to go and do it yourself.

So then when it came to all the financial troubles we had at the end of 1977 into 1978 – I mean, it couldn’t have happened at a worse time really. Because my wife had just given birth to our first child, she was just coming up to a year old. And I’d sold my house in London, and I was moving to another house out of London in a little place called Bletchley. I was moving there. So, what I then found was because of the associations I’d had in the past, shall we say, nobody in the music business was interested. You know, it was like Stray was bad news. Don’t get involved with anything to do with Stray because something’s going to come back and bite you in the butt. Or even worse, you might have your legs or fingers broken. So, I had no choice. And to be honest with you, I was lucky because I’d never really, at 16, 17, I’d done like an office boy job. I’d never had a proper job.

And I was very lucky because where I was living in Bletchley, it was in years to come to become part of Milton Keynes. So, they were encouraging businesses to start up in Milton Keynes and giving them nice little incentives as it were. And as it turned out, Hammond organs decided to do this distribution. And I’d met up with Graham Sutton. I used to do Keith Emerson’s servicing for his Hammond. So great. I could play Hammond organs all day instead of just doing them in the studio. So, I ended up working for Hammond organs for a couple of years and I ended up doing the marketing for them. And then I went to work for somebody else doing the marketing, which in a roundabout kind of way, I believe, helped me in a way because when I got back into doing music, I had the other head about. Oh, that’s how you do that, is it?

So, you weren’t so reliant on record labels and management and the whole industry anymore. You could be far more self-sufficient after picking up all those skills, I suppose.

It wasn’t what I planned, but it just goes to prove to you how life can actually turn you into different areas, you know.

Del’s autobiography ‘Rock and Roll Survivor’ published in 2022

Stray’s legacy is starting to get the recognition it deserves, I think. And in the foreword to your autobiography, Steve Harris from Iron Maiden says Stray should have been as big as Black Sabbath or Deep Purple. Frustrating on one hand, but nice to read on the other?

Yeah, yeah. It is nice. I mean, I know of people from my era who just cannot get out of the ‘70s. But… stuff happens, you know. I’ve never let it drag me down. And I’m thinking about what could have been, you know. I mean, it was quite true at the time. I can remember hearing, say about 1971, 1972, “Oh, Stray, they’re going to be the next Led Zeppelin.” And then of course, the guy who managed us for a while, Wilf Pine, was to do with Worldwide Artists. And guess what? They had Black Sabbath. And so, he actually thought he was going to manage the next Black Sabbath. And I can always remember him. We’re listening back to the first album we made with him as manager and he said, “You know, I thought I was going to manage the next Black Sabbath, but I think I’ve got the Beatles here.” There were more songs. And then, of course, I think he wanted to be George Martin, so he then got an orchestra in. And that was the Mudanzas album. So that was a real change, you know, and we were disappointed because we were expecting things to step up, and it didn’t happen.

And then, of course, the management company we had at the time, I think, to be frank, they were upsetting various people in the music business, you know, with the way they acted. And then Worldwide kind of finished, and it left us out on a limb, really. And that’s kind of how it happened in brief.

Stray in the ’70s

But against the odds, Stray is still going out there. So, my final question then, what next for both Del and for Stray?

Well, we never know what tomorrow is going to bring, do you? It’s funny, you possibly hinted at it but there does seem to have been in the last couple of years – probably since Covid when things got back to a kind of normality- there does seem to be a more of an interest in Stray than there was prior to that. We’ve just finished about a 20-day tour with British Lion, as you know. I mean, it wasn’t just down to us, but it was sold-out every night. And we had Maiden fans there, obviously Lion fans. We’ve also done a couple of metal festivals as well, which once upon a time you thought, well Stray’s not going to fit there. But it does seem that we’re getting accepted. Even our own shows, we’ve had sellout shows just straight on their own, you know. And different people coming back to see the band or people who’ve never seen the band before. Which I’m not bothered about because the more the merrier as far as I’m concerned. You know, it’s never too late.

Del Bromham@ publicity shot

And you’re one of the original bands still out there, whereas many have fallen by the wayside, either because people are no longer with us or they’ve retired or whatever. So compared to a lot of your contemporaries, you’re still out there.

Well, it’s a strange paradox because all those years ago, bearing in mind we were only about 17, 18 years old when we were playing, the business at the time always used to criticize us. “Well, they can’t be that good because they’re too young.” And now here we are 50 years later and I’m one of the elder statesmen. And, of course, people said, “I didn’t know you were still going.” I said, “Well I’ve never stopped.” And the band I’ve got with me now, they’re very versatile. And they were fans of the original band as well. So, they’ve never tried to take over or do anything. So, it’s great because we’re just five mates who go out to enjoy ourselves and we happen to play instruments at the same time.

Going forward, before Christmas I was actually thinking about a new solo album. Obviously, the last About Time album by Stray was successful and it’s brought back a lot of people. We’re not on a label but for the purposes of touring we recorded a live show and that CD is called One for the Road and we sold bucket-loads of them. So, it does seem that it’s not beyond the realms of possibility that during the year I might be quite busy in the studio with a solo and another Stray album. You know I’ve thought with the last couple of Stray albums, I wonder if this is going to be the last one. But I woke up this morning de-de-de da-dum and that was a result!

Well, that’s a really nice, optimistic, forward-looking note to end on, unless there’s anything else you’d like to tell us?

Well, I haven’t really got any big scoops for you. It’s just going to be business as usual, which I’ve always done. I’ve never had any great expectations. You know, I just enjoy playing. I enjoy life and fortunately, touch wood, I’m quite heathy so long may it continue, I hope.

Thanks Del. Long may it continue!

Devil’s Highway (with bonus tracks) was released on 2 January 2026 by Singsong Music

https://www.delbromham.co.uk/

https://www.straytheband.co.uk/

Rock / Blues: Double A-side single release – Joe Hodgson ‘Since You Had a Hold on Me’ / ‘Stick or Twist’

Music news, Rock music, , , , , , ,

Single release: 9 May 2025

“The best guitarist you’ve never heard of” “a brilliantly adventurous player, right up there with the likes of Satriani and Vai” – Steve Newton, Ear Of Newt

After a four-year hiatus, spent travelling, writing and recording, Irish guitarist Joe Hodgson returned to the scene in March 2025 with a double A-side instrumental offering, “The Grass Is Greener” and “Shapeshifting”.

The follow-up, another double single, marks a departure from Hodgson’s customary all-instrumental fanfares and features Irish vocalist Glen Harkin on the smoky bar room blues song “Since You Had A Hold On Me”. This is coupled with “Stick Or Twist”, a hard-hitting, in-your-face instrumental rocker which flirts with funk and soul, as Hodgson continues to straddle and blend musical genres with the introduction of brass to his sound.

Joe, whose playing has been described as ‘elite’ by Guitar World magazine says, “Since You Had A Hold On Me” is about the realisation that a relationship has not only run its course but that your partner no longer controls you’. We see the gravel-voiced Harkin remembering the good times but determined to walk out that door all the same. The blues is the perfect medium to express this, and while Hodgson’s mantra, ’words can lie, but my guitar can’t’, initially appears like a contradiction, the inclusion of vocals poignantly emphasises that love is often peppered with half-truths and downright lies. The track begins and ends with aching lead guitar lines, as Hodgson puts his undeniable stamp on the music.

The second track on this double single, the raucous instrumental “Stick Or Twist”, could be viewed as a precursor to the blues track. Hodgson explains, ‘This track is inspired by the moments of uncertainty and the -Will I? Won’t I?- experiences we all encounter’. The restless, edgy nature of the music underlines the unease that underpins its meaning, as Hodgson shifts pace and guitar styles through the many twists and turns of the song.

These tracks, taken from his forthcoming album, “Fields Of Redemption”, capture feelings of introspection, pain, hope and joy, and they come from a guitar player who is certainly not afraid to take chances in pursuit of his art.

About Joe Hodgson:

Guitarist Joe Hodgson hails from the village of Ballymagorry in Co. Tyrone, Northern Ireland. His music, shaped by his upbringing during The Troubles, mirrors the fierce rain and winds of the Emerald Isle. It is both sweeping and intense, boldly blending rock, blues, jazz, and Irish traditions into finely crafted instrumentals, which reveal a multifaceted, emotive, and diverse performer.

After many years of playing and recording with London-based bands and touring throughout Europe, Joe returned to his birthplace in 2018. In 2020, he released his debut solo album “Apparitions” to wide critical acclaim. Guitar World called his playing “elite”. Prominent Canadian music journalist Steve Newton said he is “the best guitarist you’ve never heard of”. While ANR Factory described the album as “a modern-day masterpiece”.

On June 20th, 2025, Hodgson is set to release his second solo album, “Fields Of Redemption”. As a forerunner to this, he released a double A-side single in March, comprising “The Grass Is Greener” and “Shapeshifting”, which garnered glowing press reviews.

The follow-up, which drops on Friday 9th May, is another double offering: “Since You Had A Hold On Me”, featuring Irish vocalist Glen Harkin, and the instrumental “Stick Or Twist”.

Released: 9th May 2025

Website: https://joehodgsonmusic.com

Facebook: https://www.facebook.com/joehodgsonmusic

X: https://x.com/joehodgsonmusic

Instagram: https://www.instagram.com/joehodgsonmusic

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This week’s featured artist: guitarist Joe Hodgson

Live review: The Cold Stares at The Carlisle, Hastings 30/8/24

Hastings music scene, Live reviews, Rock music, , , , , , , ,

As well as their usual Saturday night fare of free hard rock, heavy metal and punk gigs, Hastings infamous seafront rock pub, The Carlisle, has also been putting on a slew of great ticketed gigs of late. This week it was the turn of acclaimed blues rock band, The Cold Stares – all the way from Indiana, USA. Kicking in Denmark the previous week, Hastings is the first date on the UK leg of a European tour.

Support is in the shape of the excellent AK & The Red Kites, the new power trio formed by songwriter/guitarist, Andrew Knightley, who are well worth keeping an eye out for and have recently released their debut EP, Proverbial Storm.

Andrew Knightley of AK & The Red Kites

They got the crowd nicely warmed-up for the main event and a short while later The Cold Stares launched straight into ‘Horse to Water’, the recent single from their brand-new album, The Southern, which is officially released on 6th September. Described as a homage to Southern rock, it combines the riff-laden muscularity of bands like Humble Pie with that special Southern sweetness of Lynyrd Skynyrd. Another great song from the new album, also is given an airing tonight, is ‘Third Degree’, a punchy rocker that morphed into an extended, hard-rocking instrumental work-out.

The Cold Stares have the songs, the sound and the attitude that is just tailor-made for the power trio format. But it’s only relatively late on in their career that they’ve embraced such a set-up, with guitarist/vocalist Chris Tapp and drummer Brian Mullins being joined by bassist Bryce Klueh in time for the release of their sixth album (and their first trio album) Voices in 2023.

Chris Tapp of The Cold Stares

With quite an extensive back catalogue to draw on, there is no shortage of older material though, including a nice, rootsy rendition of ‘In The Night Time’ dedicated to the sunset on Hastings beach earlier in the evening and the raw, guttural blues of ‘Prosecution Blues’, complete with spellbinding guitar.

Giving us a good hour-and-half set of gutsy, energy-packed, hard rock and blues, and some mellower moments where Tapp dons his steel guitar, the trio draw things to a close with some obvious crowd-pleasers.  ‘Two Keys and a Good Book’ elicits plenty of cheers when it’s introduced as an encore and the full-on freak-out of ‘Head Bent’ rounds off the evening in brilliantly OTT fashion.

If you’ve a chance to catch The Cold Stares on the remainder of this tour, do take it up. You won’t be disappointed.

The Southern is released 6th September 2024

https://www.thecoldstares.com/

Live review: Troy Redfern at Forum Basement, Tunbridge Wells 27/6/24

Live reviews, Rock music, , , , ,

I first came across Troy Redfern a good few years ago now, performing at a Mott The Hoople fan convention of all places. I think it was the shared Herefordshire connection that brought him there but, anyway, I’ve followed his career with great interest ever since. Now on to his seventh album, with the latest out last month, Tunbridge Wells was the final night of an eleven-date UK tour.

I hadn’t actually read the venue details properly when I got to Tunbridge Wells and assumed the gig was at the long-established main Forum venue. But no, turning up at a completely empty Forum, I double-checked and the gig was actually taking place in the Forum Basement, a much more intimate venue in the cellar of the Sussex Arms pub in the town centre.

I arrived just in time to see the support act take the stage. With a mixture of originals and covers, local power trio Kinky Machine dished up an exhilarating blast of blues rock. With some great guitar work and nifty rhythms they definitely got everyone in the mood for the main event. It was becoming increasingly clear, however, that in this rapidly-filling 50-capacity venue we were going to be in for one long, hot and sweaty night. And I mean that in a good way!

Redfern’s new album, Invocation, features heavily in the set, with nine of its eleven songs being played tonight. Unsurprising really, given the slew of storming reviews and near-universal praise it’s received, with the album broadening out the trademark blues rock palette and bringing forth comparisons with everyone from T. Rex to ZZ Top to Slade.

From the moment he launched his career, Troy Redfern’s guitar wizardry, his natural affinity for the blues and his rock and roll attitude were never in any doubt, but with the last trio of albums, songs from which formed the entire basis for the set on this tour, he’s taken things to another level as a songwriter. The results of that were clearly on display tonight in an incendiary gig that oozed swagger with the energy levels (and the temperature!) off the scale.

Accompanied by Nicky Watts on drums and Keira Kenworthy on bass, the three certainly make for a formidable power trio, kicking things off with the catchy and adrenalin-fuelled rocker ‘All Night Long’ from the new album. Other highlights included the stomping, glam-esque ‘Getaway’, the moody, psychedelia-tinged ‘The Calling’ and the epic heavy rocker ‘Voodoo Priestess’. There’s a smattering of songs from the two previous albums in the latter half, too, including a mammoth extended work-out in the form of ‘Sanctify’ from The Fire Cosmic album, which ends tonight’s proceedings in spectacular fashion.

In many ways, Redfern reminds me of the late, great Bernie Torme, not so much for guitar technique – although there are parallels, but more as someone who can take the power trio format, inject their dynamic personality, some ferocious guitar-playing and many, many great songs – and make it utterly their own.

Photo credits: All photography by Simon Green

Set-list:

All Night Long

Getaway

Van Helsing

Take Me High

The Fever

The Calling

Native

Ghosts

Sweet Carolina

Come On

The Last Stand

Voodoo Priestess

Dark Religion

Waiting for Your Love

Sanctify

Troy Redfern is special guest on Philip Sayce’s UK tour from November 21 – December 4th 2024. Tickets are available from https://troyredfern.com/dates and https://www.thegigcartel.com/Artists-profiles/Philip-Sayce.htm

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Live review: Joanne Shaw Taylor at De La Warr Pavilion, Bexhill 26/2/24

Hastings music scene, Live reviews, Rock music, , , , , , , ,

“I’m a blues guitarist but not necessarily a blues artist,” Joanne Shaw Taylor confides in the De La Warr audience at one point in the set, explaining her desire not to be boxed in too much by the constraints of genre labels. And that pretty much sums up her whole approach on stage tonight. From the pounding rhythm and blues of show-opener ‘In The Mood’ to the heart-wrenching classic blues of the Albert King cover ‘Can’t You See What You’re Doing To Me’, to the polished pop-rock of recent single ‘Wild Love’ to the elongated ‘60s-style freak-out of ‘Watch Em Burn’ to the funky licks of ‘Diamonds In The Dirt’ to the mellow, acoustic beauty of ‘Fade Away’ we get a taste of many things tonight.

Photo credit: Marty Moffatt

At the heart of it all is the incredible talent of Joanne Shaw Taylor, her soulful voice and great song-writing much in evidence, alongside her much-praised guitar wizardry. Discovered  and mentored by The Eurythmics’ Dave Stewart at just 16, she has uncanny ability to harness the passion, raw emotion, and sheer exhilaration that great blues guitar-playing can engender and then take that and place it in pretty much any setting.

And the results are spectacular – with a packed-out De La Warr Pavilion showing its appreciation throughout. Shaw Taylor is ably assisted, of course, by a hugely-talented band (Shane Sanders – bass, Joey Spina – second guitar, Eric Savage – drums, and Phil Whitfield – keyboards). Whitfield, in particular is a delight to watch, taking us from lush, exquisite, soulful keys to pounding, energetic honky-tonk piano during the course of tonight’s show.

Photo credit: Marty Moffatt

With an eagerly-anticipated new album coming out in June we get a taste of what’s to come via a couple of songs tonight (‘Sweet ‘Lil Lies’ and ‘Wild Love’) alongside more established favourites from her, by now, extensive back catalogue. Heavy Soul will be Shaw Taylor’s twelfth album since her 2009 debut, White Sugar and tonight’s show is proof as to just how much she’s established herself as blues rock royalty these past fifteen years. An absolute masterclass of a performance.

Heavy Soul is released 7th June 2024. For Joanne Shaw Taylor website visit here

Set-list:

In the Mood

Keep On Lovin’ Me

All My Love

If You Gotta Make a Fool of Somebody

Can’t You See What You’re Doing to Me

Dyin’ to Know

Wild Love

Won’t Be Fooled Again

Watch ’em Burn

Diamonds in the Dirt

Fade Away

Runaway

Sweet Lil Lies

Bad Blood

Going Home

Connor Selby – support

A shout-out, also, for the young blues-roots, guitarist singer-songwriter, Connor Selby, the one-man support act for this tour. The polite, well-mannered introductions to his songs belie a vocal delivery of real depth and grit, some nifty blues guitar work and some impassioned song-writing. Definitely one to be added to my ones-to-watch list, he entertained with a highly enjoyable set in his allotted 30-minute slot.

Connor Selby – photo credit: Phil Honley

For Connor Selby’s website visit here

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‘Wild Love’ – sultry new single for Joanne Shaw Taylor ahead of February 2024 UK tour

Blues rock: album review – Long Road Home ‘Are We Invisible?’

Rock music, , , , , , ,

Storm Warning won over plenty of loyal converts on the UK blues rock scene during their fifteen-year existence. I was pleased to review their latest and final album back in the Autumn of 2020. Although an impressive album its release was tinged with sadness, however, as guitarist and founder member, Bob Moore, passed away shortly after recording was completed. None of the remaining members wished to continue so Different Horizons became Storm Warning’s swansong and a lasting tribute to Bob Moore.

Happily, the story doesn’t quite end there. A chance encounter between Storm Warning’s Derek White (bass) and Ian Salisbury (keyboards), with the guitarist Steve Summers and the vocalist Mike Sebbage (both from recording project Rien de Faire) led to the inception of a brand-new band: Long Road Home.

Making their debut appearance at the Cambridge Rock Festival in June 2022 (initially with drummer, Dave Norman, but Lee Morrell was soon to step in on a more permanent basis) the band began planning gigs and putting together their debut album.

Are We Invisible? is the result. Blues rock with a touch of class and bags of soul, the album comprises eleven original tunes and it took no time at all to win me over. Driving rhythms, great vocals, catchy songs, penetrating guitar solos and divinely soulful keyboards, Are We Invisible? is a highly impressive debut.

Released: 16 November 2023 – visit website here

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Blues rock: album review – Storm Warning ‘Different Horizons’

‘Wild Love’ – sultry new single for Joanne Shaw Taylor ahead of February 2024 UK tour

Music news, Rock music, , , , ,

UK blues virtuoso Joanne Shaw Taylor has unveiled a new single and video ahead of her February 2024 UK tour and a much-anticipated new studio album which is also slated for release next year.

Catchy and infectious with a sultry twist and boasting plenty of the guitar maestro’s trademark licks, ‘Wild Love’ follows recent single ‘Black Magic’ in providing a taste of what’s in store for fans when Shaw Taylor releases her brand-new studio album next year.

Joanne Shaw Taylor: “I love this track. I wanted it to be dark and sexy. I think, with the boys’ help, we came up with something really cool that the band in the studio really made come to life. It’s also rather different to anything I’ve done before so I’m really looking forward to playing it live.”

‘Wild Love’ is available to stream via the usual platforms here

2024 UK Tour dates

British blues rock guitarist and singer songwriter Connor Selby has been announced as the special guest on the tour.

To purchase tickets visit https://www.joanneshawtaylor.com/tour/

About Joanne Shaw Taylor

Discovered at 16 by Dave Stewart of the Eurythmics, Joanne Shaw Taylor quickly ascended as one of the world’s leading rock guitarists. Championed by legends like Stevie Wonder, Annie Lennox, and Joe Bonamassa, her powerful song writing and distinct vocals first captivated audiences with her 2009 debut, White Sugar. Over the years, Joanne has released numerous acclaimed albums, including the UK Top 20 hit Reckless Heart and the #1 Billboard Blues Chart toppers The Blues Album and Blues From The Heart Live. Her most recent studio album, Nobody’s Fool, launched under Bonamassa’s Journeyman Records in 2022, showcases collaborations with industry icons and highlights her continually evolving artistry.

Photo credit: Stacie Huckeba

Dave Mason re-imagines Traffic’s ‘Dear Mr Fantasy’ with blues rock icon, Joe Bonamassa

Music news, Rock music, , , , , ,

In a new collaboration, the former Traffic musician and all-round rock legend, Dave Mason, has teamed up with blues rock icon, Joe Bonamassa, to record a brand-new version of Traffic’s ‘Dear Mr Fantasy’ which was originally released back in 1967 on the band’s debut album, Mr Fantasy.

Although written by Traffic’s Steve Winwood, Chris Wood and Jim Capaldi, the song has been a mainstay of Mason’s live set throughout his solo career and he’s expressed his delight about re-revisiting the track and in working with Bonamassa for a contemporary take on a seasoned classic.

Dave Mason: “Fantasy has been a favourite song of mine since its release in 1967. I’ve played it live for years in a number of different arrangements. As I’ve often said, there are no old songs, just good songs, and ‘Dear Mr. Fantasy,’ in my mind, is one of the finest examples around.”

“To have the opportunity to incorporate one of the modern-day great guitar players, Joe Bonamassa, is as exciting to me as playing with Jimi Hendrix. He is the first person I wanted to include on this new version of ‘Fantasy.’ The combination of talent with great song structure is exhilarating to me, and I knew Joe would play it like nobody else. He has a uniquely keen sense of precise timing, unobstructed by a bluesy groove that’s perfect for this song. He brings everything up, and ‘Dear Mr. Fantasy’ is both classic and current, an exceptionally difficult balance to do but Joe Bonamassa pulled it off powerfully with grace and genius.”

The new version of “Dear Mr. Fantasy” featuring Dave Mason with Joe Bonamassa is available now on all major streaming platforms.

https://www.davemasonmusic.com/

About Dave Mason

Fans and critics alike hail Rock & Roll Hall of Famer Dave Mason as one of the most talented songwriters and guitarists in the world – which is why he is still performing over 100 shows a year to sold-out crowds. Best known for his soulful voice and unsurpassed guitar playing, Dave founded two bands by the age of 15: The Deep Feeling, and The Hellions. At 18, the Worcester, England native teamed up with Steve Winwood, Jim Capaldi, and Chris Wood to form the legendary band Traffic. At 19, Mason penned the song “Feelin’ Alright.” The rock anthem, first recorded by Traffic and then covered by dozens of other artists (including Joe Cocker), cemented both Dave’s and Traffic’s legacy, and had a profound influence over rock music that continues today.

About Joe Bonamassa:

Blues-rock superstar Joe Bonamassa is one of the most celebrated performing musicians of today. As a three-time GRAMMY-nominated artist and 13x Blues Music Award Nominee (4 wins), he achieved his 27th No. 1 album on the Billboard Blues Chart with his latest release, Blues Deluxe Vol. 2. Only in his mid-40s, Bonamassa has become a living legend with an astounding multi-genre catalog. He has released more than 40 albums, including studio and live recordings, as well as collaborative albums with his adventurous side projects: Black Country Communion and Rock Candy Funk Party.

Related post:

Dave Mason’s Traffic Jam at Union Chapel, London 3/3/17

‘Getaway’ the new single from acclaimed blues-rock slide guitarist Troy Redfern

Rock music, , , , , ,

Blues-rock slide guitarist and singer-songwriter, Troy Redfern, releases a new single from his forthcoming album this week. ‘Getaway’ is the second single taken from his coming studio album Invocation which is scheduled for release in 2024.

Troy Redfern: “Getaway is about cutting yourself some slack. It’s about transforming your life, even if there are difficult decisions to be made.  As they say, from the mud grows the lotus.”

‘Getaway’ follows Redfern’s 2023 summer festival appearances including Steelhouse, Maid in Stone, and Rawa Blues Festival in Poland where he performed to a crowd of 7,000. 

The new single is released just prior to a November 2023 UK tour supporting guitar prodigy Philip Sayce. Tickets available via  https://troyredfern.com/dates.

‘Getaway’ is produced by Dave Marks and mixed by Jo Webb. The new single features Troy Redfern (guitar, vocals), Paul Stewart (drums), and Dave Marks (bass).

Photo credit: Jason Bridges

Troy Redfern: “On ‘Getaway’ and the forthcoming album, I wanted to write and record songs that were bigger and ballsier than what has come before. The new songs embrace more of the rockier elements of my writing and playing.  I’ve also given myself the creative freedom to explore and feel out other styles or aspects of my writing that have not been heard on any of my other albums.”

“As an artist I feel it’s important to keep pushing and striving to refine your art, while staying true to your vision.  It is important to know who you are as an artist, and on ‘Getaway’ and the upcoming album, I think I have finally perfected my own contemporary signature sound.”

‘Getaway’ released 25th October 2023

Header image photo credit: Darek Ptaszynski

Troy Redfern website here

Related posts:

Live Review – The Great British Rock & Blues Festival, Skegness, 2018

Live Review – Giants Of Rock Weekend, Minehead, 2017

Interview with former Mick Ralphs vocalist and current Big River frontman – Adam Barron

Interviews, Rock music, , , , , , ,

Kent-based blues rock band Big River were formed back in 2016, taking their inspiration from that early 1970s golden era of blues rock and turning out a nice line in meaty rhythm, soulful vocals, catchy hooks and big fat riffs and lush guitar solos. Adam Barron took over as lead singer of Big River in 2021 but had previously worked with that giant of blues rock, Mick Ralphs, as lead singer of the Mick Ralphs Blues Band. I catch up with Adam to discuss his time working with Ralphs, his joining Big River and Big River’s latest single ‘Wings’.

You’ve never made any secret of your love for that classic era of blues rock from the late ‘60s and early 1970s. I was still a toddler when Free were formed and still at infant school when Bad Company started out – and I’m considerably older than you! So where does your love of those bands and that whole era of music come from then?

I’ve always loved music. My mum loved music, not all of it to my taste now. But she did particularly love Queen. So I remember listening to a lot of Queen when I was a child. And also this particularly brilliant cassette. A triple cassette album called Sixty Number Ones of the Sixties. And I loved that – and that had a bit of everything on. But when it came to classic rock and blues rock, that was when I went to secondary school. I was about 12 or 13 and a friend of mine lent me a copy of the Free album Fire and Water. And I still remember listening to it that first time and it was like a thunderbolt went off. I was like, “Oh my god. This is what I want to do with my life.” And from there I kind of listened to everything I could find and this was obviously not quite pre-internet but very early internet so we didn’t have everything at the touch of a button. But I remember watching an interview with Paul Rodgers where he said, “If you want to be as good as your heroes, don’t listen to them. Listen to who they listened to.” So that’s where I kind of went back. To Muddy Waters and all the classic soul singers, Sam Cooke and Otis Redding. So really Free and Bad Company were like the gateway for me into all of that incredible music.

You had to do some real detective work, didn’t you, pre-internet? To track albums down and work out who recorded what!

Absolutely. That’s why I often say that my musical knowledge is like a map of the world that’s partially been eaten by mice. There’s some bits that I know loads about and then others that just completely escaped me. I’ve actually started a little project recently with a group of friends of mine where they give me classic albums from the ‘70s onwards and if I haven’t listened to it as an album, it goes on my list. So that I can start filling in some of those gaps!

Before taking on lead vocals for Big River you’d previously worked with Bad Company’s Mick Ralphs in the Mick Ralphs Blues Band. Can you tell us how that came about?

It was just one of those fortuitous things really. They were looking for a new singer. They had been around for a little while with another singer.

Because you were the second singer with them? They’d done one album with another vocalist first?

Yeah they did. And a friend of mine, who I had met when I was a teenager at the first jam night I ever went to, he sent me a message and said, “Oh, this is a bit of you, isn’t it?” And it was a Facebook post saying they were looking for singers. And I was like, “Christ! Yeah, that is a bit of me!” So I got in contact, sent some video clips and stuff and they invited me up for an audition. And I got the job. Yeah!

I still remember that first tour. It was about this time of year – a bit earlier than this time of year – and they had a run of gigs up to Christmas. We had a few days rehearsing in a little rehearsal studio up in High Wycombe. And I still remember just standing there and listening to that unforgettable and almost indescribable big sound that Mick produced. And it wasn’t even when he was playing a Bad Company song. He was playing an old blues one. I can’t remember off the top of my head what it was but I was facing the other way and he was behind me. And you know those great guitarists when you just know it’s them? And yeah it was outrageous. And I never lost that feeling of wonder really. Just sharing the stage with him and seeing the things he could do with a very simple set up of a guitar and an amp and pretty much nothing else.

And how long were you with Mick Ralphs Blues Band for?

So it was a few years. It got cut short.

Yes it all came to an end, sadly.

Yeah, we had just done a run of gigs and then he’d gone back on the road with Bad Company and we’d all gone up to watch the big last show at the O2 – which was just nuts. It was so good. And then, unfortunately, a couple of days later was when he had a stroke and that put paid to the band. But most importantly, he’s still with us. Obviously it put paid to the band which was a great shame for the music but also just because we had so much fun. Getting in a transit van and driving around to these gigs and just listening to Mick tell us the most amazing stories.

I wrote at the time that you joined Big River, after the previous vocalist departed, that you seemed like an ideal fit for the band. And around that time Simon Gardiner came in on bass, too. Was it a comfortable band to slot into?

Yeah, absolutely. I’ve known Damo (Fawsett – Big River founder and guitarist) for a few years and we’d done a couple of bits and bobs together and he always struck me as a lovely guy. I’ve always known he’s a great guitarist. And when he asked me, we were just coming to the tail-end of lockdown and I was itching to do something. As most of us musicians or music lovers were. We were itching to be either playing gigs or going to gigs. So I went and had a rehearsal and none of us had played for months, if not years because of everything that had gone on. And so we all said at the beginning it really doesn’t matter how it sounds because we’re all going to be as rusty as fuck. What really matters is how does it feel. And it felt great. It felt natural. It felt loads of fun. And it has done ever since really.

It probably felt like a new band for all four of you, not just you as a newcomer, I suppose?

Absolutely. It was like Big River Mark II as we say. Because it was just a fresh start, not because of me but because of the timing. Eighteen months of not gigging meant that we were all kind of chomping at the bit. And then Simon (Gardiner – Big River Bass-player) came along who’ve I’ve known for a long time. He used to gig with Rosco Levee and the Southern Slide and I’ve known Ros since I was 16. So he came in and, again, we had a few people who auditioned because Ant, our previous bass-player who’s a lovely guy who we all still get on well with, just couldn’t put the time or commitment in. Which is unfortunately one of the joys of being a grown-up trying to be in a band as well. And Simon came along and auditioned and, again, it was just that thing. It felt right. And it’s taken us in a slightly different direction which is really good as well.

And so you’ve been with them two years now?

Yeah, it’s coming up to two and a half years.

And you’ve gigged quite extensively as well as recording the EP Beautiful Trauma?

Yeah absolutely. I mean what I really love is in previous bands I’ve almost been – I use the phrase – a gun for hire. Because I would quite often be brought in to a project for the voice. Which is great and I’ve done some incredible things and I’ve had the most fun. But this was a different animal. It was coming in to be part of a band and write the music and get out there and play it. And I’ve found that such an enjoyable experience. I absolutely love sitting down with the boys in a room and thrashing out a new song and seeing what’s going to pop out. Because we’ve got four musicians who all write. And it might be an idea from Joe or it might be a fully-fledged song or it might be just a riff from Damo or it might be a thing on my ukulele or whatever it is. And it starts with this little seed and by the end of a couple of sessions of thrashing it about we’re like, “Oh! Well that’s what it is.”

So you feel like you are fully involved in this band creatively then and not simply the ‘voice for hire’ as it were?

Yeah absolutely. And it’s flexing a whole kind of different muscle that was a bit underdeveloped before.

Had you written much before you joined Big River then?

Yeah bits and pieces. But I’ve never really had the vehicle for it. And although I can find my way around a piano and I can play the ukulele a bit, I could never quite get the ideas in my head out on to an instrument because I didn’t quite have the technical ability. So, for me, when I had written before it always tended to be with someone. And that was always a bit few and far between. But with these boys it’s just really natural.

You released your latest single, ‘Wings’, last week. Are you pleased with the response it’s been getting so far?

Yeah, I am. We started playing it at gigs over the summer. It’s written by Simon our bass-player and when he brought it to us, I said, “Oh Simon, we’ve got one here!” I said, “This is the set-ender.” And he said, “Really? It’s quite slow.” And I said this is the big finish. And we played around with it and ended up coming up with the massive outro at the end where Damo really gets to let loose and open up. I knew it was going to go down well and it did go down well – as soon as we started playing it at gigs. So I was hopeful that it would have a similar response when the single came out and, yeah, we’ve had some really, really lovely responses. And quite a bit of radio play which is really nice. The main aim is we want people to hear it.

And what next for Big River?

We’ve got a couple of gigs left this year. We supported Brave Rival at the 100 Club a few weeks ago and it was joyous. Absolutely joyous. Those guys are bang on it. They deserve all the plaudits they are getting because they’re fantastic. And we’ve really enjoyed supporting them and we had a lovely, magical, impromptu live music moment where, after a little chat before soundcheck, we ended up getting the girls up to sing ‘Tennessee Whiskey’ with me, which was just amazing. It was so good. And they’ve invited us to come and support them again at the 229 (London) on 16th November which we’re really looking forward to. And then the big one, the last gig of the year which we’re over the moon about is Friday 1st December and that’s at Planet Rockstock which we are really excited about. And that’s it for gigs this year but we are already booking studio time. We’ve got another three or four songs that are pretty much ready to record.

So will it be another EP or are you working on an album?

We’re going to bring an EP out in the Spring and then the aim is to have a full album out in the Autumn of next year. One thing we have been a bit slow with and it’s because, unfortunately, we’re all family men with jobs and real lives, is getting new music out. We’ve kept it ticking over but next year we want to get a lot of new music out.

So plenty to look forward to for Big River fans. Is there anything else you want to tell us before we wrap up?

We’ve really loved getting out in front of new people this year and adding to our dedicated and loyal fanbase. And we love seeing those familiar faces. We love seeing those Big River T-shirts. And we just look forward to seeing everyone out there at another festival or another gig next year and hopefully bring in whole new army of Big River fans with them.

Bandcamp: https://bigriver1.bandcamp.com/

Facebook: www.facebook.com/bigriverblues

X/Twitter: https://twitter.com/bigriverblues

Related posts:

EP review – Big River ‘Beautiful Trauma’

Live review – Big River at The Carlisle, Hastings 2021

Single review – Big River – Don’t Hold Out

Album review – Big River – Redemption

Mick Ralphs Blues Band at Giants of Rock 2016

Dave “Bucket” Colwell at Leo’s Red Lion, Gravesend 2016