THE JAY TAMKIN BAND - Sorted

Here’s another great young blues guitarist.
Best thing is, Tamkin (just 22) is British. This young man is highly regarded and he and his band (Pete Searle - bass and Nick Ramos Pinto - drums) have already supported the likes of Ian Seigal, Sherman Robertson and Chris Farlowe, while he has also shared a stage with ex-John Mayall guitarist, the great, Buddy Whittington, who passed on many words of wisdom.
With the likes of Jay Tamkin, Oli Brown, Ian Parker and Aynsley Lister, the British blues scene seems well served and set for a fine future.
Tamkin’s debut album ‘Sorted’ is a cracking listen, showing great promise, and opening track out of the speakers, with a hard, rocking beat and incessant guitar riff, while most of the other songs are quite outstanding, too, showing a maturity far beyond a 22-year old. Watch out for Jay Tamkin.
Total Kit Car Magazine

Jay Tamkin apologised to me just after he recorded this CD because he didn't think it would be 'Bluesy' enough for my tastes. Having first met this engaging young man about two years ago , I have followed his blossoming career with a proprietary interest and not a little excitement.
Make no mistake. This debut album marks the arrival of someone very special on the British music scene. Jay Tamkin has met and exceeded our expectations every time and I am confident he will continue to do so.
Yes, he is an exciting performer. Yes, there is an inventiveness to his music. He writes good tunes, he is a fleet-fingered guitarist when
the moment demands (not to mention a very good singing voice too) but there is so much more. There is a sense of adventure evident throughout this CD. But it is not a gung-ho experience either. Jay is willing to experiment with both sound and fills. There is a solid musicianship evident in this youngster's songwriting but there is a musicality too. Each track is very different, each a considered blend of ideas and execution. And then, just to confound us, there are a couple of surprises too.
Jay Tamkin has class and this CD clearly demonstrates that he is not a 'one-trick pony'. There is absolutely no necessity for apologies about this fine piece of work. I believe that, with the right promotion and encouragement, this young man could become a major performer.
Blues Show Bob GTfm

Another west country lad, Jay Tamkin aligned himself to the blues aiming at the rockier end of that spectrum. This is full fat blues, power, energy twelve bar blues with a maturity that goes beyond the years that Jay Tamkin has been on this earth. There's no mistaking his influences, this would sit well in any 60s early 70s blues collection, but there's also no mistaking a musician developing his own style. It's the album of an apprentice that's well on his way to becoming the sourcerer. It's proud, it's loud, great riffs and stunning solos, great axe work.
Fatea Magazine

There is no shortage of fine young guitarists, all vying to join the likes of Ian Siegal, Matt Schofield or Aynsley Lister as the great British guitar hope and there seems to be no shortage of people willing to listen to them.
Into all this comes Jay Tamkin and if he is given the right guidance and assistance he could be as big as any of them.
His guitar playing is fast and funky and he isn’t a half-bad vocalist while his songs are fine examples of the craft but it is his variety and maturity that, at only 22 years old, points to a stellar future.
Among the little gems on this album are the opener, 'Get In Your Way’, a funk/Blues workout with an excellent vocal performance and 'Jedi’, an unclassifiable love song (really!). His acoustic dexterity is also shown on 'Intermission Two – La Frescura’ where he freshens the musical palette with some Spanish flavoured solo guitar work.
He has it in him to become a serious player and this is a damn fine start.
Andy Snipper www.music-news.com

Hailing from ‘The English Riviera’ town of Torquay comes this first release from The Jay Tamkin Band – fronted by the 22 years old guitarist and vocalist, with the rhythm section of Pete Searle (bass) and Nick Ramos Pinto (drums) – firmly in the blues-rock camp, but with enough variation and subtlety to make it an interesting listen. Jay Tamkin seems to be well on the way to establishing himself and band firmly on the scene, with support slots already with Ian Siegal, Sherman Robertson and Chris Farlowe, and a healthy number of gigs forthcoming – including three at the prestigious Maryport Blues Festival in July.
Those admirers of the likes of Aynsley Lister, Ian Parker and Oli Brown will find plenty to like in the twelve tracks on offer here, kicking off with the melodic rocker “Get In Your Way”, followed by the moody blues of “I Remember When” and the funky groove of “Love Don’t Keep Me Down” – with its spiky lead lines and Tamkin’s gutsy vocals.
The two tracks that show his diversity are “Intermission One – Nice ‘N’ Jazzy” – an acoustic Django Reinhardt-style instrumental; and later, “Intermission Two – La Frescura”, another delightful acoustic piece with a nice Latin tinge to it, and some very fine fingerpicked guitar work.
Elsewhere the band rock hard on “Jedi”, and Tamkin lays down a Texas shuffle on “Troubles” – and he freely admits that listening to the late, great Stevie Ray Vaughan inspired him to pick up a guitar. Another  tough rocker is “Your Friends Are Mine”, with more funk grooves on “Tomorrow” – showing off his fluid guitar lines.
The SRV influence is stamped on “Got A New Reason” and the closing “Leavin’ This Town” – two driving blues-rockers, but containing enough ‘light and shade’ to make them not self indulgent, with the solid rhythm section of Pete Searle and Nick Ramos Pinto being really tight behind Tamkin.
GRAHAME RHODES Blues in the North West

Jimmy Vaughan and Texas-based blues don Omar Kent Dykes made a fine tribute album a couple of years back: “On the Jimmy Reed Highway”, which brought together Fabulous Thunderbird harpist (and Vaughan former playmate) Kim Wilson, as well as other Austin, Texas, blues notables Lou Ann Barton and guitarist Derek O’Brien (who also produced).
Its generally positive reception confirmed an enduring demand for the work of one of blues most-covered stars, but a Vaughan album footnote dedicating it to Reed’s long-time partner, Mississippi/Chicago bluesman Eddie Taylor, hinted at unfinished business.
Taylor, who reportedly taught Reed to play guitar and also served as his sidesman throughout much of his career, is credited with keeping his better-known friend in hand (and in time).
But he never achieved Reed’s fame, even though he penned a couple of minor hits of his own.
So to redress the balance, the first two tracks on this new album – the eponymous Big Town Playboy and Up Side Your Head – are Taylor-composed shuffle-blues driven by Dykes pleasing roar.
Blues in London

Back from a ten year break, this group were always mentioned in the same breath as The Fabulous Thunderbirds. And whilst I will always have a soft spot for that crew’s first album with it’s Jimmy Vaughan chugging guitar and straight-off-the-griddle Kim Wilson harp, I have never felt the need to collect all the FB albums. However, this collection kicks off with as good a starter cut as I’ve heard this year as ‘Can’t Keep a Good Man Down’ steams into life with an irresistible Delbert McClinton/John Hiatt  style about it. Southern Soul as it should be heard ! ‘Donna’ has an easy roll about it and reedy country harmonica ; the song ‘She Belongs To Me’ is NOT the Dylan chestnut, but a Magic Sam tune. There is a Prine heaviness to ‘Watch The Trains Roll By’ and a country blues Leadbelly touch to ‘The Moanin’ Blues’. The band’s ‘own thing’ might be the dark funk workout of ‘Everything’s Gonna Be All Light’ and this really works. ‘Pallet On The Floor’ is bayou rock’n'roll ; ‘Evil Love’ does indeed have a Texas / FT vibe.
Vocalist and harpist Brian Templeton works well with guitar man Michael Dinallo and they don’t get in each other’s way, though players of this calibre can and do spark off each other on stage, doubtless these chaps enjoy the live situation.
There are runs of lap steel from Steve Sadler here and there and the Cassell/Plaisted/Carlisle team cover bass, drums, percussion and clavinet. It’s strange that they don’t sound more like Little Feat, really…..
In summary then, a purposeful and entertaining set and certainly a good song-souvenir for concertgoers who like what they hear.
Pete Sargeant    www.fairhearing.co.uk
 

Sunday Express

'Great Rock'n'Roll Instrumentals - The original Rock'n'Roll Recordings 1950 - 1960' is an inspired compilation; I probably wouldn't have thought about getting this one sorted! But thankfully it's not only sorted but now available for all to hear and cherish. Sixty-three fantastic instrumental tracks on two great discs; blues, jazz, skiffle, rockabilly and rock'n'roll all on one album, all at one time, all absolutely as they were back then - what a pleasure to behold.
'Great Rock'n'Roll Instrumentals' is a really exciting work; all this wonderful material could so easily have been overlooked simply because of the natural trend towards the vocal offerings of the age. Every bit as exciting, every bit as enticing, every bit as worthy, 'Great Rock'n'Roll Instrumentals' just about fills in all the missing places that the other great albums in the series didn't quite fulfil - and what a great vibe and what a fantastic buzz this is! Because it's not genre specific (even though its title suggests it's just 'Rock'n'Roll'!)  you've got yourselves something here that offers great variety and t'riffic flexibility; something for most moods, something that's easy on the ear and just so..well, superb!! Educational and historical, 'Great Rock'n'Roll Instrumentals' gives a great insight into the hearts and minds of the musicians of that age; not content to just record the more obvious vocal tracks these 'guys' were brave enough to lay down their thoughts in music alone, a brave thing for those times methinks! Anyway up, 'Great Rock'n'Roll Instrumentals' is a must-have addition to the 'Just About As Good As It Gets' series, more than just worthy this is essential! Bloody great stuff this - I love it - think you will too!!
Peter J Brown aka toxic pete (www.toxicpete.co.uk)
 

'Charcoal' brings together many of the subtle nuances of American country music, mixes in a little bit of blue-grass, adds a hint of blues and the odd touch of folk and the end result is a gloriously cool and intoxicating sound that can offer something for most tastes - yes, even the unbelievers out there! In their press pack it's written extremely perceptively, '..some of the words appear to have been written for nobody 'cept you...'; what great words coz 'Charcoal' has a wonderful intimacy about it that makes you feel warm, safe and cared for and, yes indeed, Inneke 23 & The Lipstick Painters actually could be right there in the room with you, singing to you, just you - it feels real, it feels honest, it feels personal  - very clever stuff and what a total blast too!
Stunningly crafted, 'Charcoal' leaves no base untended; from conception right through to final production every song is treated with all due respect and empathetic attention to detail but, nowhere is anything over-cooked, the slightest bit pretentious or remotely indulgent - this is music from real people for real people, from the heart to the heart. 'Charcoal' is as good as anything nu-country that I've come across, not just lately but, for many years, 'Charcoal' makes country music accessible to the masses, it brings it home as a totally viable contemporary art-form that's right up there with the big names in any successful genre. Quite simply, 'Charcoal' by Inneke 23 & The Lipstick Painters is one of the best albums I heard for absolutely donkey's trousers!
I think one of the most poignant things about country music, on the whole, is that it has an almost indescribable quality that makes it something that can be listened to and enjoyed almost anywhere and no matter what mood is prevailing at the time. And, Inneke 23 & The Lipstick Painters only strengthen that belief - certainly I could chill and thrill to this album regardless of time, space and mood, it really is a joy to behold and I'm knocked sideways by every aspect of it. 'Charcoal' by Inneke 23 & The Lipstick Painters is quite simply brilliant but, the only way you'll understand my positive ramblings is to get out there, find a copy and give it a go for yourself - you won't be disappointed, in fact, I think you'll be amazed!! 'Charcoal' by Inneke 23 & The Lipstick Painters is nothing short of sensational!!
Peter J Brown aka toxic pete (www.toxicpete.co.uk)

Here’s an impressive major label debut from a young lady who seems to have been around for ever on the British blues scene, despite her still tender years – born in 1986. Joanne Shaw Taylor has had the female blues guitar market pretty much to her self in the UK since she first toured at aged 14, and on “White Sugar” she shows a maturity, both in songwriting and playing, way beyond her age.
Recorded in Tennessee, with crack producer Jim Gaines (SRV, Albert Collins, Bobby Mack) at the helm, and the top rhythm section of Steve Potts on drums, and David Smith on bass, the album’s ten tracks possess nine originals, and just one cover – a mighty version of The Hoax’s “Bones”, off the “Humdinger” album.
Her vocals are both sweet and tender, and gritty when required, with her fiery guitar licks of the highest calibre. The opening “Going Home” is a mid-tempo rocker that builds; with the following “Just Another Word” riding on a Memphis soul groove, with some lovely clipped funky guitar. The afore-mentioned “Bones” struts in fine Texas style, with the rocking “Who Do You Want Me To Be?” containing more biting guitar, and backing vocals from two ladies simply known as Vicky and Heather.
“Time Has Come” has echoes of The Hoax again, a rolling blues with lashings of sweet guitar; the title cut “White Sugar” has a New Orleans rumba feel to it, with a switch of pace on the very nice “Heavy Heart” – a soulful poppy song, with nice vocal and nice groove.
Taylor digs into a Texas feel again on “Watch ‘Em Burn”, driven by the excellent throughout Steve Potts and David Smith; with the closing epic 8-minute plus “Blackest Day” being a gritty slow blues with some sweet leads, building to intense solos, and smouldering vocal – a very fine end to a most impressive album.
It’s easy to see how Joanne Shaw Taylor has been feted by musicians such as Dave Stewart – this is a very classy effort from the girl from the Black Country of the West Midlands, and comes highly recommended! With the likes of Dani Wilde arriving on the scene now it looks like the UK will have a few lady blues players to savour!
 GRAHAME RHODES - Bluesinthenorthwest.com

Classic Rock Magazine

Derrin Nauendorf is a man that plays good rockin' r'n'b. Previously he's ploughed the artists record label route, but "Skin Of The Earth" sees him signed to RUF and a wider access to Europe ready for the next highly deserved boost in his career. The album has been recorded with his band and that tends to be higher octane than his solo performance, this is no exception. It's got energy, occasionally drifting to the point where the blues meet rock 'n' roll. Nauendorf is a consumate guitarist as well as writer so an album of this quality is no surprise
Fatea magazine

DERRIN NAUENDORF is one of my personal favourites. I've seen him live, interviewed him and admired him for the sincere, nice guy that he is.
If anyone deserves success, it's this straight-down-the-line, likeable Aussie who has found success the hard way from humble beginnings. After all, not many people would have the sheer guts to emigrate here and sell thousands of their own CDs from the back of the van they lived in for a year.
Now his continued excellence both a solo singer-songwriter guitarist and band leader has brought him before bigger audiences and it all seems to be happening for him.
That's why his new album Skin Of The Earth (Ruf Records), on sale next week, is such an important project, pushing him on that extra mile.
And because I like him, I'm relieved to be able to report that it's refreshingly original and superbly executed.
Eight excellent songs, two atmospheric and fascinating solo instrumentals, Dylan-esque tortured lyrics and primeval rhythms that keep this album rolling from start to finish.
It's not hard to single out the title song Skin Of The Earth as the most outstanding track, with its spaghetti western beat and haunting guitar work.
But Nauendorf (I've learned to spell it and say it now) is never one-paced. Michelle takes us straight into some fast, fundamental 50s style rock n roll; Pride Before A Fall is an unashamed, wistful, slow ballad; The Round-Up unwraps itself as a delightful cowboy-tinged moody instrumental, complete with subtle wah-wah pedal.
Mystery Child is Springsteen and Dylan tinged, showing his influences, and the rhythmically complex Everyone's Got A Plan is a triumph of acoustic gymnastics.
I like the laid-back feel of Most Of The Time and would love to see the drum-spanking, eastern-flavoured Not Alone performed live.
Nauendorf waves us off with Sometime, an all-too short, gentle guitar solo that's sweet without being cloying and is about the most therapeutic tune you could ever unwind to, lights low, drink in hand.
Thanks, Derrin, and hope to see you soon. If you ever get the chance, do yourself a favour and catch this guy live. You won't regret it or forget it.
Alan Candy   Luton Today

It seems that no matter what this guy does he always comes up smelling of roses. So, you won't be surprised to read that Derrin Nauendorf's latest album release is yet another super piece of work! Nothing at all flash about this - this is just real straight arrow, straight down the line, folk blues of the highest calibre. Quality from conception through to final delivery, nothing amiss, nothing to fault - much to admire, much to take away and think on. Altogether, 'Skin Of The earth' by Derrin Nauendorf is the mutt's nuts and a real pleasure to partake of.
'Skin Of The Earth', for me, finds Nauendorf in a slightly bluer vein; on the country side of folk blues with the occasional subtle hints of delta and the odd part 'trip' to the sounds of the big cities. As you'd expect, 'Skin Of The Earth' demonstrates Nauendorf's guitar virtuosity but never falls close to becoming self-indulgent. Nauendorf is more poet than prima donna and he makes a difference through words, voice and instruments without having to rely on fussy showmanship or showboating. The songs are exquisitely written and beautifully crafted to bring all that's good about Nauendorf to the fore. Nauendorf's distinctive dusky vocals are absolutely typical of the great man and his vocal delivery is precise and crystal clear. So, nowt to pick up on so far then!!
'Skin Of The Earth' is quite sparsely populated when it comes to instrumentation; Nauendorf allows his songs to be the prime movers as he adds, in the main, just bass and drums to his own, trademark, guitar work with just an occasional extra instrument added to add drama and effect and to punctuate rather than lead; the result is dynamically uncluttered and nicely proportioned. Packaged beautifully, 'Skin Of The Earth' demonstrates how to offer a complete 'package' without needing to overdo things - again Nauendorf lets the songs and their execution be the key, no pussy-footin' around for this guy, it's all down to great songs and fantastic musicianship and nowt else.
'Skin Of The Earth' by Derrin Nauendorf is everything you'd expect it to be from a man of such musical wealth and creativity; another in the long line of top notch releases from the gritty and influential Derrin Nauendorf. Hot stuff - awesome! Flawless!
Peter J Brown aka toxic pete (www.toxicpete.co.uk)
 

The opening ‘Born to Sing the Blues’, might have been the perfect title for the man himself were it not for the fact that he seems to be restlessly pursuing different styles. Thus after an impressive opening vocal performance hemmed in between  a big horn arrangement and blaze of guitars he wastes little time before slipping into some funky reggae on the title track. Nothing wrong with that. Indeed as on the later ‘End of An Era’ Arthur’s falsetto explorations come close to that of the late Curtis Mayfield.
Pete Feenstra   www.getreadytorock.com  
 

Carolyn Wonderland proves that not only do ladies have the blues but that they feel the blues and can play the blues. 'Miss Understood' is the latest album from the raunchy lady of contemporary blues, Carolyn Wonderland; a meaty, ballsy outing to match anything out there at the moment!
'Miss Understood' offers six Wonderland originals alongside six choice 'covers' - a well balanced and beautifully delivered set of electric blues based around Wonderland's steamy guitar work and her powerhouse voice. This is an album that raises the ante for the established female blues stars and also rocks the boat within the male dominated genre generally. Wonderland has such power in those elastic vocal chords that at times it's a bit scary. However, Wonderland also has the ability to take it down and easy and she uses her full range on this brilliant album. Her guitar gets a great outing too as she demonstrates superior skill and technique through all the required blues elements and styles. Wonderland is certainly a force to be reckoned with and she gives it all loud and proud for you here.
This lady aint all wind and piss though; take a listen to how easily she croons her way through the jazzy 'I Don't Want To Fall For You' and you'll see what I mean - the gals got style, the girls got class! Actually, 'Miss Understood' is quite a mixed bag of blues which showcases Wonderland's adaptability and versatility - oh yes, Carolyn Wonderland's got the blues alright!!
When it comes to knowing her way around a guitar and getting the max out it Wonderland also has it down to a fine art; when it's slow and cryin' she's got all the moves - when she reaches out and fingers fly she's note perfect, as pure as the driven snow! But, considering her quite obvious guitar virtuosity Wonderland doesn't seem to lay too much store on long drawn out solos - sure she knocks 'em out but generally they're shortish and to the point. Wonderland doesn't seem one for showboating but when it's fittingly called for she gets properly down to business and lays some skin on them there strings and that's for sure.
I have to admit that this was my first encounter with Carolyn Wonderland - she's impressed me with her all-round skills and talent. She knows when less is more and she also understands band dynamics so that all the component parts come together in unison to make oh such sweet music - blues all day long, blues of the highest order, blues to chill, blues to excite - Carolyn Wonderland's got the lot! Very impressive album this - I bet there'll be a few 'old hands' out there quaking in their boots when they hear what Carolyn Wonderland has done with 'Miss Understood' - quite right too - the lady's got blues right down to her soul - great musician - great album!! If Carolyn Wonderland was 'misunderstood' before, she certainly won't be now!
Peter J Brown aka toxic pete (www.toxicpete.co.uk)
 

It's a compilation rather than sampler. It's a concept, a message, an observation, a comment! Ruf Records have put together this amazing album with a theme and a message. Ruf Records saw the light, saw the opening and had the talent at their door - now you can all join in!!
Varied, somewhat educational and as blue as you can get - stunningly put together, 'Rich Man's War' showcases some of the best contemporary talent currently doin' the rounds with the blues specialist label. A thought provoking and thoroughly enjoyable work, 'Rich Man's War' voices the unspoken thoughts of millions as it opens wounds, looks into right and wrong and criticises political decisions and world crises. Troubled voices cry out worries and nightmares against some of the best blues playing you'll ever come across as 'Rich Man's War' unfolds and envelopes you.
Not blues for blues sake but blues for the world's sake, not personal, not indulgent blues but blues of the world for the world by people with critical minds and a platform to say their piece (or should that be peace??!!). Whether or not you agree or disagree with the sentiment here you're sure to find solace and reward for your time spent listening - 'Rich Man's War' is just and worthy and you'll not be offended by the commentary or narrative within. If you like the blues then just enjoy the blues. If you care about the world and its troubles then listen harder and reflect!
Featuring Bob Brozman, Guitar Shorty, Norman And Nancy Blake, Matthew Stoller Band, David Evans, Candye Kane, Charlie Wood And The New Memphis Underground, Pat Boyack Band, Roy Zimmerman, Michael Hill, Eddy 'The Chief' Clearwater and Doug MacLeod, 'Rich Man's War' is as varied as the messages concealed within - listen and learn, listen and enjoy!
'Rich Man's War' is a fine example of contemporary blues of numerous influences and nuances - as a musical outing it's brilliant, as a part of history it's observational, cutting, enlightening and brave. Ruf have seen the light and now give you the chance to bare witness to their corporate fears, hopes and foresight. 'Rich Man's War' is a great piece of modern blues music to just enjoy for its creativity and musicianship and to take away, dwell on and move forward. Political? No, not really! Preaching? Not at all! The blues? Definitely! Sublime blues, blues for me and blues for you! Get the message, get the blues, get Ruf Record's 'Rich Man's Blues' - it's awesome!!
Peter J Brown aka toxic pete (www.toxicpete.co.uk)
 

Finland’s not really the kind of place you’d expect to find a blues dive, but here she is. This is Erja’s second album for RUF Records, not including the ‘Pilgrimage’ record she made with label mates Aynsley Lister and Ian Parker.
She’s not an artist firmly entrenched in the blues, she likes to wander around the styles a bit, and as long as you aren’t a stuffy purist you’ll find plenty to entertain you. Anyway, whatever she does, she always does it with honesty, grace and considerable charm.
‘Grip Of The Blues’ kicks off with Broadcast, an instrumental heavy on the slide, something she really excels at. She has a stab at Tony Joe White’s Steamy Windows which is passable but doesn’t come close to Tina Turner’s version for all out raunchiness. She’s much better when she sticks to her own material and one track that highlights her sensuous voice is I Wanna Get Closer, a funked up number rich in sexual feeling. She croons about ‘getting closer and taking her clothes off’ and it really is a saucy little song. The album closes with Dissatisfaction, a track that enables her to show off those considerable guitar skills of hers.
Hi Fi Plus Magazine

The only cliche that holds true about this album is that female blues players have to work twice as hard for half the recognition, harder if they're from Europe. Fortunately RUF are a label that realises that you don't have to have testosterone in the system to play the blues oestrogen really is just as good. Lyytinen gives full range to her emotions through voice and guitar, with the latter providing the majority of that feeling. "Grip Of The Blues" really does feature an artist that immerses herself in her music. You can almost feel her setting up home inside her songs. Full gutsy performance.
Fatea Magazine

Sliding and pickin' her youthful but dextrous way through a set of mainly original songs, Lyytinen once again sends shivers down the spine and puts contemporary electric blues back in the spotlight. 'Grip of The Blues' is as exciting as it is fresh as Lyytinen stamps her overall authority on the whole blues thing. Lyytinen is growing musically as she matures; her playing is much more studied and confident now, her writing now stems much more from her own experiences within the competitive blues marketplace and her vocals are as practiced and driven as her playing. 'Grip Of The Blues' doesn't simply sit and languish contemptuously in one blues element; Lyytinen runs the gamut of blue themes, timings and styles. Lyytinen explores the world of gritty truth, varied fortunes and troubled times through her music with honesty and commitment in this stylish and believable album of beautifully melodic and rhythmically dynamic yet damn raunchy songs. 'Grip Of The Blues' finds Lyytinen undeniably growing and maturing into her music; 'Grip Of The Blues' is where she's at but, 'Grip Of The Blues' will not mark the end of Lyytinen's journey of blues education, this lady's will continue to develop her skills and hone her talents as she progresses and mellows. 'Grip Of The Blues' is a stunning portrait in blue of life as seen through the eyes of a still youthful soul; Erja Lyytinen is clearly not one for standing still, not someone who takes the easy option. Erja Lyytinen shows total commitment to her blues cause - 'Grip Of The Blues' is merely a moment in time, a time that required a stop-over to collect and re-collect her thoughts and experiences. 'Grip Of The Blues' is not the terminus, 'Grip Of The Blues' is just a rest-stop on Erja Lyytinen's fascinatingly creative journey - next stop - who knows!!  But, I'm sure it'll be just as creative, equally well tended and probably even better delivered. 'Grip Of The Blues' by Erja Lyytinen is modern blues at its best - a brilliant example of contemporary electric blues with one eye fixed firmly on tradition whilst the other eye seeks inspiration for the future of the blues form. In my very humble opinion,  this is the best album to date from Erja Lyytinen - superb!!
Peter J Brown aka toxic pete (www.toxicpete.co.uk)
 

This young British talent has provided a real freshness to playing the blues.
In the final analysis it doesn’t matter a jot where Oli Brown and band hail from and equally, the ages of the band are of no importance because OPEN ROAD is an exciting example of white-hot blues.
For the record Oli Brown, Fred Hollis and Simon Dring are young and British but more than that the trio have grown up immersed in the blues and all three understand intimately the power that the blues contains. You would be disappointed if a young band didn’t play with a certain excitement and energy but the Oli Brown Band adds a razor sharp clarity and focus to that energy and excitement. Once you’ve listened to about 30 seconds of the opening track Psycho, it will come as little surprise to learn that one of Oli Brown’s heroes was a certain Jimi Hendrix, the comparison is obvious and not particularly outlandish. Oli Brown, like Hendrix, is a naturally gifted and powerhouse guitarist and a musician who pushes his talent to its limit. In fact, so strong a presence is Oli Brown that you have to continually remind yourself that this is a band effort and that’s a bit of shame, because without Hollis and Dring OPEN ROAD would certainly lack some of its spark. They are the ones that provide the foundation allowing Brown to soar.
At heart OPEN ROAD is good old-fashioned, kick down the door guitar blues, although the version of the Ram Jam Band’s Black Betty is a bit of an eye-opener. But within that framework Brown and co groove their way through the aptly titled New Groove, indulge in a little guitar pyrotechnics with Played By The Devil and Can’t Get Next To You and show real pain and emotion with Missing You.
The talent of all three members of the Oli Brown Band is clear for all to hear but it’s the freshness and complete lack of tired cynicism that help create the magic.
When Oli Brown was advised by Carl Gustafson of US Blues outfit Blinddog Smokin’ to form his own band it was good advice, we should give thanks that this young blues talent had the good sense to follow it.
Michael Mee     Maverick Magazine

Classic Rock Magazine

Oli Brown has taken in the influences of the great British blues players of the past and those of his contemporaries such as Aynsley Lister to take up the baton for the 21st century. He has already shared a stage with greats such as Koko Taylor, Walter Trout, John Mayall & Buddy Guy and is ready to take his place in the spotlight. Psycho is a contemporary blues played by a power trio. The rhythm section of Fred Hollis on bass and Simon Dring on drums ably backs Brown’s guitar in its quest for the elusive note. The eponymous title track is a mid-paced grinder with nothing out of the ordinary in the voice. Stone Cold (Roxanne) is a shuffling blues in the Kansas City style and there is no doubting his credentials as he lets it rip on the chorus. The first cover, Can’t Get Next To You has him not really out of first gear yet and this needs a bit of pace injected. It’s another contemporary blues rock with the introduction of Govert Van Der Kolm on organ. Shade Of Grey is slow again and has a spoken vocal intro. It does build a little and turns to the funky side.

All The Kings Horses has a heavy intro and highlights Brown as one of many playing this type of blues at the moment, and he’s certainly not the worst by any manners of means. This has his best guitar work yet and the pounding drums from Billy McLelan breathe life into it as it builds to a fantastic crescendo. Black Betty (yes it is the Ram Jam song) has a drawled vocal and although essentially the same as the Ram Jam cover of Leadbelly’s song, Oli does let himself go -- short and sweet. Missing You is a slow, uncomplicated blues with incisive guitar bursts -- this will be a great live track. New Groove is a beefed up Robert Cray style strolling blues in parts but we have had to wait until Played By The Devil before we get any genuine pace and this is a highlight as he shows how good he really is. Complicated is slowed down again but I’d have rather had him sprinting for the finish although this 21st century blues is a good finish to an intriguing album.
David Blue

  
Mojo Magazine                                                            Rock n Reel

With personal endorsements from many blues legends many of whom he has already supported, Oli Brown is indeed a precocious talent and ‘Open Road’ has got to be one of the most energising blues recordings I’ve heard for a long time.
Usually it’s a good idea for a young blues artist to include some covers and Oli and his band oblige with solid versions of Strong/ Whitfield’s ‘Can’t Get Next To You’, Allison/ Solberg’s ‘All The King’s Horses (the guitar break is brilliantly constructed and the band whip up a frenzy); and the populist touch of Lead Belly’s ‘Black Betty’.
But it’s on some of the original compositions like the angst ridden ‘Psycho’ with its touch of Hendrix  the title track, the musically literate, well observed  slow blues ‘Shade of Grey’ and the magnificent ‘Missing You’ that Oli reveals his true potential and growing maturity as an artist. The clean, fluid guitar playing and a clear, expressive voice are also great assets and two different rhythm sections provide solid backing. Govert Van Der Kolm’s B3 also enhances the sound on a couple of tracks .My only reservation, and it’s a slight one, is that ‘Stone Cold (Roxanne)’ sails a bit too close to ‘Shakin’ All Over’.
That aside, Oli Brown is one young man we’re going to be hearing a lot more about. Well done, Ruf Records for discovering another new blues talent!
Phil Jackson

 
 Guitarist Magazine                                      Sunday Express

First off, I'm going to say that I've seen Oli and his band play twice so far, once as support for Devon Allman's Honeytribe and once as headliners, showcasing this album. Both times I walked away knowing that I'd seen something special. This is a band worth following. For the guitarists amongst you, here is what you need to know:
The boy has tone..............and he's not afraid to use it!
And he's so frikkin' young and talented it's enough to make you hang up your guitar, lock yourself in the bathroom and cry for your Mommy. If that's not bad enough, at 18 years old he's got himself a damn fine blues voice.
And he writes his own stuff.
And he has a record deal.
At this point I know you're dying for me to say something like 'he's good, but y'know, all he plays is pentatonics so he's got a long way to go...'
Not so. He plays all over the frikkin' place. Just when you think he's going to do one thing he hits a colour note then tears off in another direction.
And... and...
And I haven't even got round to reviewing the CD!
"Open Road" is definitely a strong debut album. If I had to mark it down for any reason (and I'm totally nit-picking here!) it would be that I think a couple of the tracks could have been arranged more like their live performance. Onstage, the band consistently sizzles but at times the recorded tracks veer more towards a jazzier vibe.
The biggest example is the album cut of "New Groove". Played live it's an edgy, funky, balls to the wall song. On the CD it's a much more laid back. I'd have preferred them to push the tempo and add a bit more snap. In general the drums have been mixed further into the background than I expected, I guess. I get why: so that you can hear every note Oli's plays. I'm sure that I'll get used to the different mix of the recordings and love them after a couple of listens.
Hey I just listened to "New Groove" for the second time and already I'm starting to feel it more. See, I told you I was nit-picking! Y'know I just figured out what the deal is. The album is meant to be played LOUD! Amps to 11, puh-lease!
If you like blues with a twist, buy this album. You will not believe that this sound is created by a bunch of guys who are only just over the UK legal drinking age.
Kenski

Hey Oli, where you going with that axe in your hand? The teenager who’s the most talked about talent in blues music is incredibly only 17, yet comparisons are already being made with the late, great Jimi Hendrix.
Oli Brown isn’t any ‘60s throwback in terms of image. Hendrix was all flower power ruffles and bubble perm – Oli peers out from behind a severely straightened modern fringe. Hendrix was American, Oli carrries the blues torch for the Brits.
And yet.. .it’s hard for comparisons not to be made. Oli definitely has much of the Hendrix sound – the sharply chopped, ice-clear notes, totally uninhibited, loose rhythm style, effortless chord switches, that inate ability to mix it up according to mood, hard or soft.
Maybe Oli doesn’t hit quite so much feedback and wah-wah but his playing’s as sharp cut and stylish as an Armani suit.
Judge yourself in Oli’s debut album Open Road (Ruf Records) which hopefully lays down a blueprint for many great things to come from Boy Wonder.
From the opening track Psycho, which bears easy comparisons with Voodoo Chile, Oli and his three-piece outfit (a la Hendrix Experience) wade into a mean and moody, fast and frantic and sometimes just damn stylish brand of blues, much of which stands comparison with anything turned out by luminaries such as Jeff Beck, Eric Clapton, Jimmy Page and Peter Green at a parallel stage in their careers.
Having already shared a stage with contemporary bluesmen such as Koko Taylor, Walter Trout, John Mayall and Buddy Guy, Oli isn’t about to be backward about coming forward, nor in denying his roots.
Indeed, the up-tempo rock version of Black Betty is an all-too-short but exhilarating take on an old classic by ‘King of the 12 string’ Leadbelly. Two minutes of ecstasy that end in an honourable draw – Huddy Leadbetter couldn’t get near Oli on guitar, but then Oli can’t sing with the raw power of Leadbelly.
Shade of Grey takes us off somewhere more along the jazz-blues fringe and its laid-back mood is obviously something Oli’s comfortable with. He isn’t afraid to rein in the volume and get up close and personal with that axe rather than just hammering it hell for leather.
The spare, minimalist feeling of a tight trio suits Brown’s style, with the teenage bluesman flowing effortlessly between lead and rhythm guitar, ably backed by a sharp, snappy band. It’s encouraging to note that eight of the 11 featured tracks have songwriting input from Brown himself.
Oli can moan and get a little hoarse for the blues cause but it’s interesting to note that like Hendrix, singing isn’t his greatest strength…yet. There’s plenty of moan and angst but he’s no Paul Rodgers or Freddy Mercury...though things could improve with more maturity, as Clapton proved. No, Oli’s magic is in his fingers.
My personal favourite here is the sad and wistful Missing You, which has style, mood and some sweetly laid-back playing plus some soulful vocals, and the jazz-club flavoured Complicated, but in truth there isn’t a dud track here and everything shines in his hands.
Original, sublimely talented, a brilliant live force – just how far can he go? Who knows – but I’ve heard, I believe and I've seen the Promised Land.
Alan Candy - Luton Today

The travellers to the crossroads seem to get younger every year. I wonder if the devil still charges an immortal soul or does he do special rates for teenagers.? The rule book says that blues guitarists do their apprenticeship as the sidesman in a number of bands before making a name on their own. Oli Brown and his album, "The Open Road" basically tears up the rule book and discards it, almost casually in the nearest bin. That a blues guitarist can have so much talent so young, it makes you sick :-) God knows where he'll be with some life experience to draw on.
Fatea Magazine

Live Review - The Oli Brown Band, Leicester Nov 30 2007
Right. I'm going to say something controversial now. Sometimes the blues gets boring. There, I've said it and now I'll tell you why. I've spent many an evening in front of a band of highly competent musicians, playing 12 bar at various tempos, and dear reader, I've been yawning behind my pint glass by the fifth song.
I arrived at The Musician in Leicester knowing that The Oli Brown Band are very good - everyone "in the know" said so, and the mini album in my possession backed that up. What I wasn't prepared for was just how good. From the first chord to the final screams of the encore, I was enthralled by the twists and turns of where Oli took me. Oli's band is a three piece, with Fred on a six string bass,(believe me, this is not just for show - he plays all 6 of them well enough to turn your knees to jelly) and Simon holding it all together on the skins. What I noticed, was that despite their young age and therefore you might think, lack of experience, was that they are not afraid to use space in their songs. Many older musicians would to do well to remember that it is not neccessary to fill up every space in a song - Oli's use of light and shade is sublime.
This was my kind of blues, a set tinged with Stevie Ray Vaughan influences, but definitely with Oli Brown's own signature stamped all over it.
As I was leaving, a grey haired gentleman of senior years was speaking to Oli outside the venue. I happened to overhear him whisper to Oli as he shook his hand "The blues is in safe hands"
I smiled because I knew this was true, and also because I remembered that I didn't yawn once all night.
Webmaster Stitch - GFI Promotions

'East Of Everything' by Taneytown is bloody great electric country-rock; think Byrds, think Eagles, mix the two 'ages' of the genre and you'll be somewhere in the right direction. Then, just for good measure, you could try adding a few touches of Dire Straits into the meltin' pot to just tint the whole with the appropriate degree of rocky poppiness! Taneytown give country music a lift by imparting their unified love of the genre with new zing and fresh soul. 'East Of Everything' is a twelve track monster of country rock that's as bright as the proverbial button and as good as anything I've heard within this genre. Stunning syncopation and electrifying dynamics mean that 'East Of Everything' is pretty compelling stuff; easy on the ear, foot-tappin', catchy and fuckin' hard to put down! OK, so Taneytown add their take on American-esque to the mix, the vocals have a distinctly pseudo-American lilt to them but hey, country wouldn't really be country I suppose without some reference to their dialect. No matter anyway, Taneytown do it with style and they are totally believable and sound comfortable in that 'skin'. 'East Of Everything' is a real treat to partake of; country music, especially with a modern twist, always seems to have an up-lifting and kick-ass flavour - Taneytown give you exactly that 'twist' and make country-rock not only grounded but appealing and damn commercial. Taneytown's country music is for 'now' and the future; with the greats like the Eagles being so up/down, in/out, on/off I'd like to think that Taneytown have the staying power to once again bring country rock back to the fore, back to the people. Certainly Taneytown seem to have it all sorted and sound ready and up for the challenge - let's hope they've got the stamina for the long haul, stick with it and grow to be the new Eagles. Stunning album this, passionate, bright, earthy and a bloody great thing to behold! T'riffic stuff from Taneytown, they may feel 'East Of Everything' but with a good tail wind they've got the potential to be slap-bang in the middle of 'everything'!!
Peter J Brown aka toxic pete     (www.toxicpete.co.uk)
 

Ringing with typically American country sophistication, 'Holding Up The World' is beautifully crafted - not exactly sparsely instrumented, more empathetically minimalistic!   Not understated exactly but stunningly simplistic and superbly proportioned such that the songs are accessible, believable and totally enjoyable in all their glory and professionalism. Grimm's beautifully rich voice is given pride of place in the mix which allows every single word, every little nuance to be heard and understood - so, welcome to the openly silky world of Tim Grimm, come in and enjoy your stay.
'Holding Up The World' is beautifully descriptive and wonderfully lilting; Grimm's approach to his art is unhurried, relaxed and very giving. As you listen, Grimm's songs come to you and you feel like he's singing to you and you alone - Grimm gives, Grimm shares, Grimm exudes a kind of friendly vibe that's really hard to fault in any way. Not that I want to fault anything about this stunning album; 'Holding Up The World' is like a good old friend that's come back to visit and plans to stick around a while. Grimm's music is bright yet hauntingly real, he puts a new spark into an old musical form and make it totally 'now' and commercial within its genre. 'Holding Up The World' by Tim Grimm modernises the 'traditional form' and popularises the sometimes 'acquired taste' of American country music. 'Holding Up The World' is a complete breeze of a work, nothing's anything other than subtle and smooth, everything's perfectly weighted, everything's just so precise! Grimm is joined on this album by a 'band' of like-minded and equally skilled and adept musicians - each brings a well proportioned sympathetic extra dynamic to the mix and each component part is added with due care and full understanding of the concept and/or theme. This really is a wonderfully rich yet somehow simplistic sounding work, 'Holding Up The World' by Tim Grimm is a fine example of modern country music made for the people and with enough grit and grind and 'world' content to perhaps entice new believers and first-timers to the country music fold. 'Holding Up The World' by Tim Grimm is nothing short of brilliant - country music for the new age - the genre here is re-made, re-modelled and re-vitalised, now nu-country, now with a larger net to pull in a greater catch from many walks of life, music-heads from many more musical persuasions. Superb!!
Peter J Brown aka toxic pete     (www.toxicpete.co.uk)

Tim Grimm is quite a character. An actor who has played alongside Dennis Quaid, Johnny Depp, Christian Bale and Harrison Ford, he is also a mean singer and guitar player with folk and country roots with shades of Woody Guthrie (e.g. ‘This Hole’) and Bruce Springsteen, from his (some would argue best) ‘Nebraska’ and ‘Ghost of Tom Joad’ period (‘Heart So Full’ and ‘Swamp’)
The thing that strikes you about Tim’s album is not just the beautiful music and lyrics but also the empathy he has with a group of superb musicians with the arrangements and the flow just spot on! It has also has a consistency that will amaze you considering it’s 9 originals and 2 covers, including Dylan’s ‘Blowin’ In The Wind’, a brave move for sure, but one it has to be said that works!
The title track has got to be one of the best songs I’ve heard in years and you’d have to be a piece of solid rock not to be touched by it! The ‘sparse’ arrangement is perfect (Grimm’s guitar backed by cello and piano also the instruments of choice on ‘So It Goes’). On other songs there’s a richer musical palette with banjo, organ, sometimes bass, sometimes drums (mainly brushes and such) with mandolin, lap-steel, autoharp and pump organ just some of the instruments used in perfect context..
Another personal favourite is the intriguingly entitled ‘Rebecca Versailles’ with its wonderful acoustic guitar arpeggios and banjo pickin’ like something right out of the mouth of a gifted storyteller in the deep south. Classic stuff and following it by the infectious hillbilly fiddle driven ‘Or Bust’ is genius as it lightens the mood even although the subject matter always has a serious side! It’s hard not to be uplifted despite the grimness of some of the lyrical landscapes. (Couldn’t resist that!)
‘Holding Up The World’ is a superlative record for anyone who likes music in general and folk and country roots Americana to be specific- absolutely flawless, absolutely essential!
Phil Jackson   Zeitgeist

Tim Grimm has toured and recorded with his friend, Ramblin’ Jack Elliott, and appeared with Harrison Ford in the film Clear and Present Danger. His songs and performances have established him as a unique voice in Americana music as he walks the fine line between folk and country, while maintaining a strong footing in tradition. He grew up in the woods and small town settings of southern Indiana, and he now lives with his wife and sons on an 80 acre farm close to where he grew up. His songs are full of the rural rumblings that have shaped his life - rich with descriptive details, and sung with warmth and intimacy. Holding Up The World, Tim Grimm’s fifth solo release in the past decade, is flavoured by the rural Midwest places and people he knows so well. The production is simple and he records his songs ‘live’ with guitar and vocal before layering instruments and voices to suit the song. Jason Wilber plays electric guitar, banjo and mandolin. Most of the players hail from Indiana, including Kristta Detor (vocals, piano), Jan Lucas (vocals, harmonica) and Jennie Devoe (vocals). Holding Up The World examines what it means to be human, with songs that thoughtfully express anguish, uncertainty and yearning. Grimm has been compared to Woody Guthrie, Johnny Cash and Bruce Springsteen, but his wise, reflective songs stand on their own. He even risks covering Bob Dylan’s Blowing’ In The Wind and gets away with it. Other highlights include the contemplative title track, Long Way Round, Heart So Full and the beautiful Krista. Highly recommended.
New Classics
 

Storm Warning are a five piece outfit that draw on their diverse musical backgrounds to produce a fluid sound. On The Road opens with echoes of an ancient forest which leads into a joint guitar and harp attack. It’s modern blues with a gruff vocal from Son Maxwell and Bob Moore’s effortless guitar style that can be dressed up when required. Hard To Be A Man has a bit of bounce to it and man fights back during the laconic lyric. Moore’s Vibrant guitar is a standout. Charlie’s Blues is a return to the guitar and harp duet and they have certainly taken the genre into the 21st century. Ian Salisbury’s keyboards are to the fore here to and Maxwell has lungs of steel on the harp. Blues 101 is a harmonica led jazzy blues with numerous references to blues classics that make it a bit of an homage to the great blues poets.

The eponymous title track is a slow blues with sustained guitar but despite the excellent intro it ultimately fails to deliver – patchy. One Step Forward has a snappy acoustic guitar and harp intro that leads us to a fast paced electric burst and manic keyboards. Lucky Peterson’s Nothing But Smoke, the only cover on offer, is another slow one and Bob Moore excels in these. There is a pronounced bass from Derek White and the song is more traditional than most. I Don’t Know has screeching harp and stays on the jazz side of the blues. They are a tight knit unit and Roger Willis on drums keeps them all together. Long Ride is a funky blues to finish with and Moore gets up a head of steam with some excellent flurries.

There is certainly space at the table for Storm Warning
David Blue   www.bluesblues-bluesman.blogspot.com

Hi-Fi Plus Magazine

Storm Warning is a band that has obviously absorbed a lot of influences mostly rooted in classic blues- as it says in the promotional flier a lot of the numbers on ‘Something Real’ sound like standards.
It’s also nice to hear a keyboard player in a blues band and Ian Salisbury does his fair share of work adding a synth line here such as on the 7 minute opener ‘On The Road’ (Very much in the style of Rory Gallagher with tongue in cheek lyrics- once a bluesman, always a blues man I suppose!) and an electric piano or piano break there (for example on ‘Charlie’s Blues and ‘Blues 101’ where Bob Moore’s soaring guitar breaks are also highlights).
One thing I haven’t mentioned yet is singer Son Maxwell’s harmonica that sounds fantastic throughout. I was looking forward to hearing the two longest numbers to see how such a tight and proficient band would ‘fill the space’ and I was not disappointed. The slow burning blues of the title track is right on the nail and puts succinctly into words what many of us feel about the shallowness and sensationalism of the media contrasting it with ‘something I can use’, something more substantial i.e. the blues! The list of artists that forms the ‘medication when I need a dose of the truth’ proves the range of classic influences alluded to in my opening remarks.
The second longest number is a solid rendition of ‘Nothing But Smoke’ played with great subtlety (But not missing the point!) with some more great guitar work.
Instrumentally organ is used more and more as the album progresses to provide some simmering ‘fills’ on the title track and in a more upfront way on the upbeat ‘One Step Forward’, sounding for all the world like a lost Rory Gallagher classic with Moore on top form on guitar.
Harmonica growls at the beginning of ‘I Don’t Know’ (then solos later on), the organ is back (also soloing) and some jazzy guitar accompanies another toe tapper (with a solo of course!)
Storm Warning are on a winner here with a classic of blues influences, mostly modern but also capturing an authentic blues spirit from the past. Their playing borders on the empathic and the rhythm section of Derek White and Roger Willis holds the whole thing together well.
I haven’t even mentioned my own favourite number yet, a kind of antidote to the strident feminism prevalent in the blues (not unwelcome!) It’s entitled ‘Hard To Be A Man’ and that is all I need to say.
‘Something Real’ is an outstanding album of blues rock that demands the widest exposure.
Phil Jackson - Zeitgeist

‘Something Real’ is the eagerly anticipated second album from one of Britain’s most talented and well respected Blues bands. Their debut album ‘Breaking Out’ was met with critical acclaim, and became a cult hit amongst Blues aficionados. ‘Something Real’ sees the band delivering much more of the same, a distinctive blend of contemporary blues, rock and jazz that creates their trademark slick and classy sound. At times this sound is a little too smooth and polished for this writer’s tastes, however, that being said, this is a very strong release from an obviously talented outfit. The album consists of eight original tunes, along with a cover of Lucky Peterson’s ‘Nothing But Smoke’. ‘On The Road’ is a haunting blues, drenched in reverb, that wouldn’t sound out of place on a Clapton solo record. The title track shows the band off in all its glory, clocking in at over nine minutes long, it gives the band room to showcases their individual abilities in a jam-type setting. With the cover of Lucky Peterson’s ‘Nothing But Smoke’ the band manage to put their own stamp on a blues standard, so much so that those unfamiliar with Lucky’s work could easily mistake this for another original number. ‘Long Ride’ brings the album to a close with maximum impact. This song perhaps has the most orchestrated dynamics of any on the album and moves seamlessly from the sparse verses to up beat solo sections, with guitarist Bob Moore emulating Robben Ford at times with soulful jazzy guitar work. Whilst the originals are generally based on rather simplistic twelve-bar forms, the strength of musicianship within the band distracts from this and the slick production gives a new spin on this raw genre. Son Maxwell’s vocals and harmonica are impressive throughout and it’s perhaps his performance, along with the fiery playing of Moore, that lend an air of authenticity to Storm Warning’s straight-cut blues.
Rhys Williams / blues matters!

LIVE REVIEW A sadly small audience greeted the headliners at the New Crawdaddy Blues Club this week and those who were not there missed yet another excellent night as Storm Warning, a band that warrants being far higher in the musical firmament than they are, made a welcome return visit.
Storm Warning, by their own admission, defies categorisation being neither a straight blues band nor a pure rock band. I suppose that, loosely, you could call them blues rock but even that does not really cover it. The hell with categorisation, they are very, very good. After listening to their new CD and to their excellent set at the Club which featured quite a few songs from the CD, I feel I can justifiably describe them as one of the most original and inventive bands on the circuit at present.
We were treated to a wonderful set full of variety featuring some excellent covers and loads of the band’s excellent original material, featuring wonderfully imaginative lyrics delivered with passion and panache by Son Maxwell, great guitar from Bob Moore whose playing was beautiful to listen to, ranging from rock solid and rocking to dreamy, ethereal gorgeousness and superb keyboards from Ian Salisbury, a vastly underrated musician.
The rhythm section of Derek White on bass, dazzling with some smashing bass breaks and drummer Roger Willis, never too much never too little and always spot-on. So a band that is a delight to listen to and who responded with warmth and vigour to the reception from the audience.
With festival appearances around Europe, a Paul Jones show session broadcast earlier this year and a new CD, ‘Something Real’ due for a June release, Storm Warning are definitely a band to catch.
Ashwyn Smyth

Storm Warning fall into the why the hell haven't I heard of these guys before section and are the sort of band that Fatea was set up for. "Something Real" is powerful and evocative blues album, performed by five highly talented musicians that deserve to be better known at home. Grafting hard to get the sort of gigs over here as they're picking up on the European mainland. The lack of exposure doesn't detract from what is a great album, with some of the best gob iron that I've heard in a longtime. Stuart 'Son' Maxwell is there with the likes of William Clarke and Charlie Musslewhite.
Fatea Magazine

Blues in Britain

Hayley Anderson guests on So Far From Home and Taylor goes all Americana and does it very well. The fuzzed vocal is used to great effect. Sheryl Crow’s Everyday Is A Winding Road is given a rootsy treatment and is, it could be argued, more than comparable with the original. Taylor’s not inconsiderable guitar talent is one of the reasons why. Another cover follows in the shape of Greg Allman’s It’s Not My Cross To Bear. This is a soulful blues that builds to a feverish pitch. Snakes is a strange one with a Miami Latin feeling whereas Lovestain is a moody and atmospheric acoustic ballad with Taylor’s soaring guitar ending things perfectly. He gets a jug band feel into No Trouble At All and the fun lasts all the way as he manages to get his guitar to sound like a duck in parts. Three radio edits of You Are The Only One, The Open Road and Everyday Is A Winding Road finish off proceedings.
The Matt Taylor Band makes playing sound so easy, almost no trouble at all.
David Blue    www.bluesblues-bluesman.blogspot.com


Rock n Reel Magazine

Hmmm, very nice work!! 'No Trouble At All' is Matt Taylor Band's second album - the difficult one - the one everybody criticises. Well not me!! 'No Trouble At All' is a little cracker!!
Matt Taylor Band don't do the blues for the blues' sake - Matt Taylor Band are more subtle than that - Matt Taylor Band err on the side of chilled, rockin', funked-up blues - blues with modernity - blues with a soul - blues with a clean face and well heeled boots. 'No Trouble At All' is gentle contemporary blues - mature, considered and well crafted, 'No Trouble At All' is a real worker - this baby grabs you when you're not expecting it, it pulls you in carefully and quietly. And, once in you won't wanna leave - this is really cool stuff!!
There's a decent mixture of Matt Taylor originals and a few interesting and possibly unexpected covers here - and with that mixture there's a whole load of vibes comin' off the player - this is a classy album, an album of distinction, an album to enjoy in its entirety just for exactly what it is - a piece of gritty modern music with real heart and soul! Matt Taylor Band are just a three-piece but sound bigger - comprising Matt Taylor (vocals, guitars, bass, mandolin, ukulele, lapsteel, percussion and programming), Jonny Dyke (piano, hammond, Wurlitzer and synth bass) and Pete Radcliff (drums, percussion and technology), the trio work supremely well together to give off a sound that's polished, refined and very wholesome feeling. The 'keys' take almost as much limelight as the 'guitars' here - the combination is excellent, the mix brilliant and the end result superb. It makes a pleasant change for the 'name' of the band not to completely swamp the fellow members with guitar histrionics and solos. Taylor uses his privileged position to heighten rather than lead - he plays with control and respect for his fellow players - the result is stunning and refreshing.
'No Trouble At All' by Matt Taylor Band is a real gem - a beautifully crafted album that straddles and blurs genre but keeps one eye firmly on contemporary blues. An album that will quite obviously appeal to lovers of all thing blue but will also appeal to just about anyone who loves or appreciates good music. A little beaut!!
Peter J Brown aka toxic pete (www.toxicpete.co.uk)
 

'Highway Prayer' gets to parts that other albums fail to reach; this is a no pretensions album that just gets down to business and deals all the right cards with slick professionalism and earthy reality. Twilight Hotel comprises Brandy Zdan and Dave Quanbury, a couple that show sublime creative sensitivity to this understated genre and make no attempt to join in with the 'big solos' blues generation. Twilight Hotel tell it simply but give it undivided attention as they pour their hearts out with believable passion and stylish aplomb. From bass-slappin' stylish rockabilly to slippin' and slidin' delta, Twilight Hotel run the full gamut of blues nuances with slick familiarity.  Their no-fuss, band in a subway, approach relies heavily on stunningly worked vocal harmony set against a relatively sparse but empathetic instrumental backdrop - Twilight Hotel feel the pain and make sure you feel it too!  Whether givin' it out with gravel throated balls or honey-drenched harmony Twilight Hotel are quite obviously, plainly and simply, two like-minded souls singing from the same hymn-sheet; both feel it, both live it and both certainly deliver it!!
Twilight Hotel's contagious blues style is beautifully bolstered here by a handful of guest musicians that ensure their inclusion is an augmentation rather than take-over but these songs would work equally well totally stripped back and laid bare.  Twilight Hotel deliver blues with heart and soul and although 'Highway Prayer' is simplistic in form it's performed with great attention to detail and absolute belief.  'Highway Prayer' by Twilight Hotel is captivating and rewarding - a superb trip into blues country that's as contemporary as it is old-school, accessible to the point of being near-tangible and lets you feel the blues without needing to feel blue -  a beautifully understated yet perfectly balanced album rammed full of earthy musical poetry,  worldly sentiment and honest grit - superb!!
Peter J Brown aka toxic pete (www.toxicpete.co.uk)