Sunday, August 12, 2018

Little Boys Blue with Kid Memphis - Hard Blue Space

For an R’n’B band led by a harp player, Little Boys Blue have a remarkably mellow sound – don’t expect to hear JD Taylor start blowing up a typhoon anywhere on this album.  From Jackson, Tennessee, they have a soulful, understated style, at times lightly funky in the manner of Albert King’s ‘Born Under A Bad Sign’, and on early listens I wondered if they would ever find top gear.  But with repeated spins I began to appreciate that there’s some subtlety at work here.
These ten tracks, all originals, begin to resonate for their unhurried musicality, for Taylor’s
I know that bar - Little Boys Blue groovin' in Beale St
rich voice and phrasing, and especially for the guitar playing on display throughout.  Sometimes playful, sometimes Peter-Green-fluid, I’m guessing the fretwork is largely the work of special guest John Holiday, aka Kid Memphis, though there are also guitar credits for Alex Taylor and Andrew White.
Right from the start, on ‘Six Foot Down’, the control is evident in the steady back beat, Taylor’s soulful singing, and the way they slowly build a mounting pressure.  There’s a hint of ‘Green Onions’ in the B3 of Dave Thomas on ‘Loving Kind’, and they show the ability to deliver something slower and more contemplative on ‘Blues Bug’, then a cool, measured strut on the edgier title track, with its neat, rolling guitar riff and warm piano.
They get more uptempo on ‘Morning Train’, with its subliminal air of ‘It’s Your Voodoo Working’, before toughening up on ‘Cold Inside’, with Dave Mallard’s swinging bass bumping along to good effect.  ‘Might As Well’ serves up a jump blues vibe – and I do like a bit of decent jump blues - with barrelhouse piano from Thomas and a call and response chorus from Taylor and the band, while ‘Got A Mind Of Your Own’ dials up the funk.  ‘If The Blues Start Calling’ is a slow shuffling groove, with gritty harp from Taylor and some tasty slide into the bargain, and the closing ‘Going Back To Memphis’ is a more rootsy, chugging affair.
Hard Blue Space may not give you an adrenaline rush, but if you fancy the idea of an R’n’B band laying back and leaving each other lots of space to participate in bluesy musical conversation, then Little Boys Blue may be your bag.  Personally I’d like a pint of Mississippi moonshine added to the mix, mind you.

Wednesday, August 8, 2018

Too Slim And The Taildraggers - High Desert Heat

Too Slim And The Taildraggers may be based in Nashville, but they sure as hell don’t sound like no country music.  High Desert Heat is gritty blues rock with an occasional southern twist - no frills stuff that deserves to be played loud while cruising along in a pick up truck, down an arrow-straight highway that’s shimmering in the high noon sun.
Tim 'Too Slim' Langford - psychedelic, maan!
Opening track 'Time Has Come Today' sets out their stall with a meaty riff and jangly turnaround from Tim ‘Too Slim’ Langford, to go with his gravelly vocal.  Here and there the vibe drifts towards Texas, as on ‘One Step At A Time’ and ‘Run Away’, with their ZZ Top-like riffs and Langford’s voice channelling Billy Gibbons.  The former has a moody, downbeat opening, though it would benefit from more drive, while the latter builds some satisfying tension between the guitar and Jeff ‘Shakey’ Fowlkes’ drums, ahead of a heavyweight crescendo in the middle and a closing wah-wah solo from Langford.  Both songs feel overlong, but not as a result of indulgent noodling, so the lack of pruning is forgivable.
Elsewhere the material ranges from traditional R’n’B on the loping ‘Trouble’, with its rock steady rhythm and chugging harp from guest Sheldon Ziro, to the more modern ‘Lay Down The Gun’, where the melody tugs at the rhythm and the semi-rapped vocal recalls the Red Hot Chilli Peppers.
Sonically they’re in the sweet spot throughout, typified by the chunky rhythm guitar sound on the beefy ‘Broken White Line’.  ‘A Little More Time’ has Skynyrd-ish undertones, and the closing title track is an atmospheric instrumental with twanging guitar spaced out over rattlesnake-shaking percussion.
But they’re probably at their best on songs like the straight-up ‘What You Said’.  Locked into a crisp, pounding beat, it would surely have Angus Young at least nodding his head to the simple, ringing riff as Langford bounces licks off it.  High Desert Heat is the thirteenth studio album from Too Slim and the Taildraggers, would you believe, and the experience shows in a well-honed, blue-collar sound worthy of a roadhouse jukebox.

Monday, August 6, 2018

Mike Vernon & The Mighty Combo - Beyond The Blue Horizon

Legendary blues producer Mike Vernon styles his Mighty Combo as an R’n’B outfit, but don’t stick this album on expecting something down and dirty of the Chicago variety.  To begin with at least, the vibe is more “small big band”, jump blues and early rock’n’roll – Louis Jordan and Fats Domino are declared influences.  Which is fine in principle, but on the first few songs here the results aren’t especially convincing, for a couple of reasons.
The energy levels aren’t high enough for one thing – they can declare on the opening track that ‘We’re Gonna Rock The Joint’, but they really don’t.  And for another thing, Vernon may have been a vocalist with the likes of Rocky Sharpe & The Replays back in the day, but for
Mike Vernon gets his groove on
Pic courtesy of Tommy Slack
several songs here his limited range and power are evident.  His phrasing is good though, so that he at least invests the material with some personality.
Which is just as well, because in the wrong hands this kind of urban blues-derived material could easily end up sounding like twee music hall.  As it is, Clarence Henry’s early Sixties hit ‘(I Don’t Why I Love You) But I Do’ comes across as something from a guest on a comfy BBC light entertainment show of yesteryear, while the arrangement on ‘I Can Fix It’ sounds corny with its repeated musical stings.  It’s all competent enough, but I get the feeling that someone like Georgie Fame would elevate material like this to a whole other level.
And then suddenly, about halfway in, things start to click.  Mose Allison’s ‘Your Mind Is On Vacation’ could easily be a candidate for yet more jazzy quirkiness, but against all odds it does actually sound like R’n’B.  Laid back and mellow R’n’B to be sure, but tasteful, with smoky sax from Paul Tasker and satisfying guitar licks from Kid Carlos.
They follow that with the even more impressive slow blues of ‘Old Man Dreams’, on which Carlos really shows his mettle, while Vernon sounds more relaxed and at home.  Maybe he’s in a more comfortable key, maybe the material comes more naturally, but throughout the second half of the album his delivery is much more effective.
‘Red Letter Day’ swings along pleasingly to Mike Hellier’s shuffling rhythm, and Carlos produces another nifty, twanging, varied solo – though the song, like some others, goes on longer than necessary.  ‘A Love Affair With The Blues’ is a dreamy Fats Domino derivative, delivered with feeling and some tasteful harp to augment more twinkling guitar from Carlos, before ‘Hate To Leave (Hate To Say Goodbye)’ rounds things off with some bouncing rock’n’roll.
I caught Vernon and the Combo playing live a couple of weeks back, and the main man certainly seemed to be enjoying himself, which I rather suspect is more than half the point of this venture.  Fair enough. But I’d have thought that someone with Mike Vernon’s track record would have managed to deliver a bit more a-wop-bop-a-loo-bop than is the case on Beyond The Blue Horizon.

Thursday, July 19, 2018

Chris Bevington Organisation - Cut And Run

Feeling a bit blue, chum?  In need of a pick-me-up?  Never fear, Dr Cameron has just the tonic.  Get your ears around Cut And Run, the latest outing by the Chris Bevington Organisation – positively one of the most upbeat, good time albums so far this year.
Bassist Chris Bevington may have his name on the tin, but in terms of musical direction he’s got some top quality accomplices in the shape of multi-instrumentalist, producer and hit songwriter Scott Ralph, working in tandem with FM honcho Jim Kirkpatrick.  Between them this pair have not only turned out twelve indecently enjoyable original songs, they’ve also collaborated on production and mixing to give them a vibrant, knock your socks off sound.
"Look lively, there's a snapper!"
Regardless of the Ralph/Kirkpatrick axis though, this is an ensemble affair in which the whole is greater than the sum of the parts.  You want reference points?  Now and then the sound puts me in mind of a YouTube clip I saw of Clapton doing Freddie King’s ‘Tore Down’ with a big band.  Other times – bearing in mind that Jim Kirkpatrick is a frequent collaborator with Bernie Marsden – it suggests nothing so much as early Whitesnake blues-rock with horns.
The Clapton reference is relevant right from the off, as ‘It’s My Life’, with its rattling rhythm and harmonised guitar riffing, recalls one of my favourite Clapton recordings, ‘Motherless Children’.  And there are several more tracks to make you shake yer booty thereafter, starting with ‘Got To Know’, a tale of a “one time woman with a one track mind” on which Adrian Gibson’s trumpet and Mike Yorke’s sax really take flight for the first time. Later, ‘Rollin’’ features a grabbing, spiky riff and a knuckle-dusting guitar solo.  Best of all in the party mode though, is ‘Coming Down With The Blues’, a rollicking effort with a squawking trumpet solo from Gibson, injections of sax, and sassy backing vocals from Sarah Miller and Kate Robertson – the ladies’ contribution being as polished as you might expect from alumni of the Steely Dan tribute outfit Nearly Dan.
The Chris Bevington Organisation have more strings to their bow though, evidenced by the ballad ‘Won’t Daydream No More’, with its exquisite melody initially underpinned by sensitive backing vocals and Dave Edwards’ organ. And there’s more variety in the likes of ‘Sing Myself To Sleep’, which swings as woozily as the title suggests, and also the title track, which opens somewhere down the Mississippi with a megaphone-style vocal before rousing itself into something more raunchy, with some nifty slide playing from Kirkpatrick.  Meanwhile the engine room of Bevington on bass and Neil McCallum are especially to the fore with the lurching, offbeat rhythm of ‘Had Enough’, and the tub-thumping ‘Ain’t Got Nobody To Love’ with its urgent, stabbing horns.
Cut And Run is an album packed with good tunes, all delivered with energy, brio, and what you will, courtesy of some great playing and singing from all concerned.  It has variety, but it’s still tied together beautifully, courtesy of the arrangements and production.  I’m even impressed by the different-from-the-rest cover art – no geezers with guitars pics, but instead a continuation of the sequence of run-down building photos from the earlier albums.
If you want to listen to some ground-breaking piece of innovative music-making then forget it.  But if what you’re after is something to loosen your limbs at the end of the daily grind, then get in line – this is what fun sounds like, folks!

Wednesday, July 18, 2018

Southern Avenue - Edinburgh Jazz & Blues Festival, 15 July 2018

Southern Avenue’s self-titled debut album from 2017 may be a good introduction to their bluesy, gospel-tinged soul oeuvre, but this performance demonstrates that onstage they spring to life in vivid Technicolor.
Signed to the modern version of Stax Records, Southern Avenue have the goods to refresh the Sixties soul aesthetic in a similar fashion to Vintage Trouble.  Ori Naftaly’s guitar often adds a new slant to the basic soul template, drummer Tikyra Jackson and touring bassist Gage Markey inject bouts of serious syncopation, and Jeremy Powell throws an adrenaline rush of organ into the mix.
Tierinii Jackson - tiny but towering
And then there’s Tierinii Jackson.  Right from their opening number, the uptempo R’n’B of ’80 Miles From Memphis’, Southern Avenue’s lead singer is an elphin bundle of positive energy and charisma who shows the potential to propel the band to another level.  She’s got vocal power to burn - goodness where it comes from, as she’s tiny. She also hints at some jazzy capabilities now and then, but more to the point she has the kind of church background that enables her to do justice to the gospel inflections of their sound with ease, and also the sensitivity to do justice to the dreamy soul of ‘It’s Gonna Be Alright’ – with added harmonies from sister Tikyra.  Add to that a winning smile, and a readiness to dance like the music demands it, and you have one helluva magnetic performer.
From the debut album, ‘What Did I Do’ is built on a guitar lick that strongly recalls Corner Shop’s ‘Brimful Of Asha’, of all things, and Naftaly serves up some serious twang. ‘Peace Will Come’ is a slice of gospel for the 21stCentury, sounding like a mash-up between ‘Wade In The Water’ and Tommy Castro’s ‘Common Ground’.  They demonstrate good dynamics, starting off slow and steady before funking it up with chunky guitar and keys riffs, while Naftaly shows off his penchant for rockabilly-tinged guitar soloing – not for the first or last time. Ann Peebles’ ‘Slipped, Tripped, Fell In Love’ meanwhile, the only cover on the album, is simply a spot-on blast.
They rouse the audience with a few other nifty cover versions too, like Stevie Wonder’s ‘Higher Ground’, slowed and sultry in a Stax-like stew, a suitably strutting stab at ‘Come
Southern Avenue strut their soulful stuff
Together’, and a relaxed, loose reading of Etta James’ ‘Blues Is My Business’.
They close the set proper with the anthemic gospel soul of ‘Don’t Give Up’, on which the audience are recruited into a call and response routine for the duration of the song, while Powell gets stuck into an organ wig-out, and Jackson goes into towering mode with her vocals.  Then they put an unexpected cherry on top with a whirl through ‘Superstition’, with Laftaly conjuring up some interesting wah-wah – except, y’know, who cares about details like guitar tones by that stage, with the crowd getting to their feet to dish out a warm ovation?
Southern Avenue still have some growing to do, to be sure.  I had the impression they slotted in some new songs along the way tonight, without identifying any titles, and if so they were all well up to the mark. But they could still do with a few more to help them cut down on the number of covers.  And now and then it felt like they needed to find another gear, to give it all a bit more dig.  These things will come, but in the meantime they won a bundle more fans with this show.

Tuesday, July 3, 2018

Little Steven and The Disciples Of Soul - Whitley Bay Playhouse, 2 July 2018

The curtain parts, a rumble of drums and burst of chords heralds the appearance of the Disciples Of Soul, and before Steve Van Zandt can even shuffle his way to the front of stage, the audience are on their feet.  The Whitley Bay Playhouse may be a compact but bijou venue, but as Little Steven kicks off with Arthur Conley’s ‘Sweet Soul Music’ the night is made for dancing.
What follows is a two and a half hour show that’s equal parts Stax Soul Revue,  grand tour of rock’n’roll history, and – as the main man himself puts it – spiritual nourishment through live music.
Steve Van Zandt preaches spiritual nourishment
And that’s not a grand claim.  Just a few songs in they serve up Etta James’ ‘Blues Is My Business’, which not only features a 100% grabber of a hook, but is a platform for no less than six – count ‘em, six – different instrumental breaks kicking off with Andy Burton’s organ, and taking in guitars, piano, sax, and all action trombone from Clark Gayne. But here’s the thing, every one of these solos serves the song, and they’re all fun rather than exhibitions of self-indulgence.  After a sublime key change they could almost pack in right there and it would still be worth the ticket.
Except of course they don’t stop there.  It’s all so intense at one stage the backing singers JaQuita May, Sara Devine and Tania Jones take advantage of a solo to cool themselves off in front of fans next to the keyboards.  The ladies are dancing queens of a wholly different stripe from the usual repetitive groovers, though they’ve evidently been developing more co-ordinated moves since last autumn.  Not sure I approve of that mind you – I like ‘em best at their most non-conformist. Still, they add bucketfuls of snap, crackle and pop to the show, and Ms May is still “hotter’n a fox in a forest fire”, as another musical Van Zandt might have put it.
Hotter'n a fox in a forest fire in Whitley Bay
‘Until The Good Is Gone’ is a tribute to the great radio days of Van Zandt’s youth, featuring wonderfully gospellated call and response vocals between him and the girls.  ‘Under The Gun’ takes a very different road, with an Arabic intro worthy of Robert Plant leading into a pounding affair in which Steve and his guitar buddy Marc Ribler exchange ringing guitar chords a la Lizzy’s version of ‘Rosalie’, before a wild ending in which drummer Rich Mercurio goes certifiably nuts.
In between there’s ‘Angel Eyes’, which like the later ‘I Saw The Light’ seems almost like a throwaway at first, before turning into something immense.  Moments like these almost sum up the paradox of great pop music, that it can seem ephemeral on the one hand and timeless on the other.
Along the way there are so many different ingredients added to spice up the menu, from the sublime Motown-esque melody on ‘Some Things Just Don’t Change’ to the signature terrific horn riff on ‘St Valentine’s Day’ (on which Mercurio again shows that a drummer doesn’t need a solo to take the biscuit), from Morricone-style trumpet and guitar duet on ‘Standing In The Line Of Fire’ to the spot-on doo-wop arrangement of ‘The City Weeps Tonight’, and even the hard rocking of ‘Salvation’, on which the girls go wild.
There’s a slight dip in intensity with James Brown’s funk film theme ‘Down And Out In New York City’, as all five of the horn players take solo turns – all of which are fine in themselves, but which detract from the tension the song generates.  That done, they take a breather for the subdued mandolin-and-accordion of ‘Princess Of Little Italy’.
Disciples Of Soul - born to be wild
From there on though, it’s like a bobsleigh ride of thrills and spills, starting with the great hook of the floor-shaking ‘Ride The Night Away’, and continuing with the Latino vibe of ‘Bitter Fruit’, on which Van Zandt cries “Mambo!” to usher in a percussion showcase from Anthony Almonte as a song of defiance turns into a celebration. ‘Forever’ ends the set proper, but although they take a bow they go straight into the encores, and then they bring the house down when they “try something” with a stab of stop-time R’n’B which some of the Geordie locals go nuts immediately recognise as a hit by local Sixties heroes The Animals.
‘I Don’t Wanna Go Home’ triggers a forest of hands in the air to greet the aspirational lines “I know we have to try, to reach up and touch the sky”.  Most bands would struggle to top that, but Van Zandt still has ‘Out Of The Darkness’ up his sleeve.  It’s an air-punching anthem for our times, and sums up perfectly Van Zandt’s philosophy of musical and social togetherness.
I love live music, but there are some shows that reach up to another level altogether, and this was one of them.  If you were at this gig, and didn’t come out punch-drunk with enjoyment, and your face tired from smiling, then what the hell do you want from life?

Monday, July 2, 2018

The Waterboys - Playhouse, Edinburgh, 29 June 2018

Long, long time ago, I can still remember – playing The Waterboys’ ‘Big Music’ as my rallying call before going out to do my final university exams.  They weren’t a band I particularly followed at the time – I was primarily a hard rock kid back then – and my acquaintance with Mike Scott’s oeuvre has been haphazard since.  I loved Fisherman’s Blues, and there was then a long hiatus until somehow I picked up on the blindingly good Modern Blues a couple of years back.
So now here we are again at the Edinburgh Playhouse, scene of many a great gig in days of yore, but now largely given over to musicals.  Which probably explains the numerous signs insisting that the place is a seated venue, and “would patrons please co-operate in ensuring everyone can see”.  In other words, sit yer ass doon!
The Waterboys - first class jiggery-pokery
Which is a pity, because there’s plenty of danceable stuff in the Waterboys’ set, and it’s clear that some of the audience are itching to shake their booty on some of the jiggery-pokery stuff like ‘When Ye Go Away’ and the spankingly rumbustious ‘The Raggle-Taggle Gypsy’.
Fortunately Mike Scott has a trick up his sleeve to allow us at least a vicarious dance sensation, in the form of hip chick backing swingers Zeenie Summers and Jess Kav, who get on down in exuberant, loosely co-ordinated fashion throughout.  They also provide spot on vocals, with Kav especially impressive and versatile, ranging from soulful to scat-singing to well-nigh classic soprano at times.
By contrast Steve Wickham, looking like your favourite absent-minded professor with his waistcoat and stuck-up hair, often looks rather bemused by proceedings, when not actually playing, swaying gently while holding his fiddle in both hands.  But then he chucks in his trademark pirouette as they roll back the years with ‘A Girl Called Johnny’, and when he rips into that scudding riff on ‘We Will Not Be Lovers’ you know exactly what he brings to the party.
There are a few tunes from the latest album Out Of All This Blue.  It may have been a bit of an erratic outing, but Scott still pulls out some strong songs with the likes of ‘If The Answer Is Yeah’ and the country-style tribute to keyboard player Brother Paul Brown, ‘Nashville, Tennessee’.  Personally I reckon the tag-line of the latter would be better reversed to “My ass may be in Nashville, but my heart is in Memphis, Tennessee”, but that might have required a whole different lyric.  I’d also have preferred to hear something upbeat like ‘The Connemara Fox’ or ‘The Hammerhead Bar’, rather than the more mellow ‘Man, What A Woman’, but hey, I’ll give Mike Scott a pass on that.
In any event there’s enough from Modern Blues to keep me happy. In addition to being a sublime lyricist, Scott is an excellent raconteur, and cleverly uses a bit of guitar tuning as a catalyst for a story that neatly lines up the muscular ‘Still A Freak’.  Then after the interval he neatly bends the premise of ‘Nearest Thing To Hip’ to turn it into a nostalgia trip for lost Edinburgh record shops from the heyday of vinyl.  There’s no need for storytelling with the rattling set-closer ‘Long Strange Golden Road’ though.  ‘Anthemic’ is a word that could have been invented for Mike Scott’s songwriting, and this is a beat poet visionary call to (peaceful) arms.  It’s also one of several songs on which Brother Paul goes to town on his Hammond organ, apparently wrenching soul from the very guts of it.  His addition to the Waterboys ranks a few years ago was a signal moment.
They encore with ‘The Whole Of The Moon’, and inevitably the audience rise en masse to acclaim the archetypal example of Scott’s “Big Music”, singing along merrily as they’re conducted by Summers and Kav.  They stay on their feet for ‘Fisherman’s Blues’, the first blast of Scott’s delving into folk traditions, on which Scott and the girls join in with Wickham to twirl through the classic fiddle riff, summing up the collective spirit of the evening.
Mike Scott is blessed with the ability to create a multi-faceted repertoire.  As The Waterboys’ Facebook page puts it, “The Waterboys belong to no movement, genre, school or fashion. We play Waterboys music.  We follow the twists and trails of the music wherever it leads, wherever the adventure unfolds. Come with us.”  Yeah, it may sound a bit corny.  But Mike Scott is still a freak, and a bloody good one at that.

Wednesday, June 27, 2018

Jed Potts and the Hillman Hunters - Jed Potts and the Hillman Hinters

Must admit I’m feeling a bit guilty about having taken so long to get round to reviewing this first album by Jed Potts and the Hillman Hunters, since they released it a couple of months back.  But hey, it took Jed Potts ages to get the damn thing out, so I’ll cut myself a little slack.
Potts is a prominent fixture on the Edinburgh blues/funk/jazz music scene, showing off his guitar skills in a variety of different bands.  His own trio, as this debut recording featuring ten covers and three originals demonstrates, focuses on good time rock’n’rollin’ blues.  I’d have liked to hear another of his originals, the entertaining ‘Ain’t It Rough (When Your Baby’s In The Huff)’, but sadly that will have to wait for another day.
Jed Potts - Is this man a gangster of love?
Two of the three Kings are to the fore, kicking off with BB King’s ‘Days Of Old’, which sets the tone with lots of energy and sparkling guitar from Potts, notes bending and snapping hither and yon.  His voice is on the light side, without the depth or rasp of yer real deal blues singer, but he compensates for that with good phrasing, injecting songs with the necessary personality.  The sound is also a bit on the thin side, lacking a bit of bottom to properly bring out Jonny Christie’s kick drum and Charlie Wild’s bass, which is a pity because they’re a swinging rhythm section, but after cranking the volume up a bit I gradually got used to it.
And speaking of swinging, Freddie King’s ‘Sen-Sa-Shun’ is the first of a few instrumentals on which Potts throws off sparks with his guitar as he skates around in numerous directions – and even if the drum sound is a bit tinny, Christie’s contribution still gives the tune the requisite fizz.  The self-penned instrumental ‘Puttin’ It Aboot’, meanwhile, is even more rapid-fire, with racing bass and drums and Potts’ fingers well and truly nimble over the top of a jazzy beat that hints at Sean Costello – an influence that’s even more apparent on the later ‘Draughts’, with its lazy sense of swing, and casual strumming of bright chords interspersed with licks fired in from unexpected angles.
There’s a sense of fun abroad throughout, whether in the simplicity of an old-fashioned rock’n’roll such as Elvis’s ‘Tryin’ To Get To You’, on which they capture the vibe perfectly, or BB King’s ‘Fishin’ After Me’ – ‘Catfish Blues’ by any other name – with its skipping rhythm and Potts combining rhythm and lead playing to great effect.  Meanwhile Johnny ‘Guitar’ Watson’s ‘Gangster Of Love’, with its stop-time riff a la Muddy, is delivered with the wit it deserves.
Taking things down a notch the original ‘Four Leaf Clover’ is a major key but sounding-kinda-minor slow blues that’s mellow, with a well-honed arrangement, subtle dynamics, and plenty of variation in style, and while ‘Down In The Alley’, by the rather obscure Nappy Brown, doesn’t manage the level of angstiness someone like Sean Costello might bring to it, Potts still coaxes surprising accents of a non-pedal variety from his guitar.
Either side of the latter, Rudy Greene’s uptempo ‘Juicy Fruit’ is all buzzing, rattling guitar, and Freddie King’s ‘Sidetracked’ brings the curtain down in suitably effervescent and relaxed fashion.
Jed Potts ain’t no shredding blues rock guitar slinger.  He’s an old school electric blues player, and an inventive one at that. His brand of music is really a live thing, for people to shake their collective booty.  But meantime, anyone fancy a party?  Okay then - let’s grab a few beers and it’s all back to Jed’s!