Paul Lamb & The Kingsnakes @ Artrix 04/04
The Artrix played Host to Paul Lamb and the Kingsnakes for an evening of blues. Supporting Paul was Jacksboro Highway, an acoustic blues trio from Northampton. The lead and rhythm guitars of Martin Fitzhugh and Steve Smith, joined Kev Buxton on harmonica, for some classic blues standards from the likes of Jimmy Reed, Sony Boy Williamson, and Robert Johnson. They also gave a nod to more recent artists like Taj Mahal, JJ Cale and notably a song by Brian Protheroe. ‘No Snow Blues’, with, apparently, lyrics taken poet Sydney Keyes, the wonderful ‘Pinball’ came to mind. All present seemed very comfortable with the offering, and Jacksboro Highway were applauded warmly.
Paul Lamb, strode onto the centre stage, a solo intro on the harp led to the arrival of The Kingsnakes, guitarist Chad Strentz, bass Rod Demick, percussion Dino Coccia, and ‘new born ‘ Lamb, Ryan also on guitar.
Straight into Ray Charles ‘Good To Me’, then Johnny Cash is given breath with ‘Folsom Prison Blues’, which seems to fit very nicely into Paul and the bands style of country blues. As you would expect Paul is mesmerising on his harmonicas, played with such subtlety. Chad takes care of most of the vocals, with a few exceptions, Rod and Dino, keeping the whole sound tightly together, without overpowering. Then there is Ryan, who obviously enjoys using the stage, his face reflects the energy of his style, a perfect target for my lens!
Paul takes on the vocals, mixed with his harp, for ‘Ya Ya Blues’ accompanied by Chad, the audience, really got behind this fun bit of music, played with a bit of bite, crocodile shoes tapping out the rhythm.
More superb vocals from Chad, as Paul goes chromatic, and Ryan gets into serious mood with Ray Charles, ‘Black Jack Game’, excellent. Sad to say, there was only a moderate turnout, no matter, the band gave there all and those fortunate to have made the effort were richly rewarded. All joined in for ‘Midnight Special’, as Chad and Ryan, put aside their guitars to share a mike, whilst Rod was joined by Dino at the other, Paul breathed into his harp and led the vocals for this finale. Well not quite, 2 days later, I found my way to the Prince Of Wales at Ledbury, a lovely little pub that is a magnet to some fantastic blues artists. So no surprise to find Paul and Chad galvanising the crowded bar. I joined for Gershwin’s, ‘Summertyne’! played beautifully, as it deserves to be, found a tight spot to sup my Ledbury Dark ale, and enjoy an hour of the harmonica maestro, accompanied by Chad on guitar and vocals. Paul is ‘Hootin & Tootin’, in style, the songs taken from ‘Going Down the Road’, an album release featuring the two in acoustic mode, a perfect fit for this venue. An altogether superbly entertaining few days.
Words And photos Graham Munn
Fabulous Boogie Boys, with Sarah Warren @ The Hop Pole 22/03
The red rash of the Fabulous Boogie Boys, squeezed into the tight corner stage of the Hop pole, promised us a colourful evening of jump jive, rock & roll and a good splash of blues. The Hop Pole was filled out with music fans who like to let their hair down and have a bit of fun, which is the hallmark of this hard ‘rockin’ band. Discretely melding into the crowd, 2 giants of the stage, Steve Steinhaus and Mark English were present to see fellow Dr Teeth member, Jay (Moody) Riley, perform on the keyboards.
Swinging straight into ‘Lovin Machine’, the band kicked off, with Cliff Dawe, lips glued, to his ‘Elvis’ birdcage mike, warming to the task. Old favourites like ‘This Old House’ and ‘Shake Rattle And Roll’ are blasted out, Hugh Thomas is given plenty of work on his tenor sax, he does not disappoint. Tightly hemmed in behind, Nick Lynden is wrestling with his double bass. Time for a change in tempo and delivery, as Sarah takes the lead for the Etta James classic, ‘Tough Lover’, with all the passion and grit she could summon. The baton is passed from Cliff to Sarah and back, for ‘Since I Met You Baby’, and again, as they duet through an old 50′s classic, ‘Bloodshot Eyes’. Up the pace again for a bit of ‘Jump Jive and Wail’, before things cool down for the beautiful, yet powerful voice of Sarah Warren, ‘At Last’, there can be few that can match this. The atmosphere in the Hop Pole is electric, not much room for dancing, but that did not seem to stop a few staking a claim to more floor space in the crowded bar, as ‘Rip It Up’, and ‘Chickens’, were rolled out, with a short breather in between as Sarah ‘Just Wanted To Make Love To You’, hot stuff. The floor show from this red army of rockers is frenetic and almost non stop as we head towards the closing session. ‘This Little Light O Mine’, ‘Little Egypt’, ‘Wanna be like you’, and ‘See You Later Alligator’, wind the spring tightly, Cliff giving his all, shadowed at the back, Stu opens ‘Flip Flop Fly’ on his Epiphone guitar, as Richie keeps everyone nicely in check on his drums, heard but almost invisible.
How can you finish a fast, fun night of rock, rhythm and blues? Well how about turning to Mr. Chuck Berry to show us the way, The Fabulous Boogie Boys presented us with a fabulous and exhausting (as it should be) ‘Jonny be Goode’.
The question is, how did new keyboard player Jay fit into all this mayhem, well he certainly had the right keys to open the door to an entertaining evening of fun at The Hop Pole. Jay, the red jacket fits well, I can only look forward to the next session of the Fabulous Boogie Boys.
Words & Photos Graham Munn
Artrix May 8th
The Blues Band:
Here once more at the Artrix, who are hosting what has become a regular visit from The Blues Band. What I might ask, can I add to the well documented biography of this mature and skilled gang of Blues practitioners.
Paul Jones, he of the Monday night Radio 2 slot, a near encyclopaedic knowledge of the Blues world. Who’s playing where, and who’s no longer playing at all. All this, and he still finds time to tour, either with this band or parts thereof, a fine harmonica player, singing and playing since the early 60′s. (that means he is actually older than me)
Dave Kelly, one of the finest exponents of the Blues guitar complete with slide. Another man who can dig down to the roots of blues, he has played with the greats, Muddy Waters, Howlin Wolf and John Lee Hooker. The man’s got provenance!
Tom McGuinness, he’s played with Clapton in Eric’s early years, Manfred Mann (as did Paul of course) McGuinness Flint, and later joined Paul to form this band.
Rob Townsend, another man rooted in the 60′s, drummed with Roger Chapman’s ‘Family’, Medicine Head, and has toured with Duane Eddy.
Gary Fletcher, the apparent ‘baby’ of the band, he has been a workman bassist over many years, had played alongside Dave in bands, and was asked along to join The Blues Band.
None of the above need an introduction, they have been around a long time, and not surprisingly, the audience, a sell out, also tend to be of a certain age. They know what to expect, are prepared to pay for it, and they know they will go home with a satisfied grin…………and maybe a few CD’s. They will also be back next time, many grew up through the late 50′s, early 60′s, listening to those same Blues legends as this stalwart band.
Having said all that, I confess to doing much the same (not 50′s). We are all here because these guys can still do the business, well trodden blues songs, some roots, some self penned, all played with enthusiasm and finely honed artistry. Paul, Dave and Tom tell their tales of paths crossed, stages played and the availability of their numerous CD’s, as individuals, or variously formed bands, outside, for sale, in the foyer.
This is a recurring theme between songs, thankfully done with a large dose of banter and humour. Unlike many musicians of their stature, they also are in the foyer, yes to sell, always to sign, and find a bit more time to share a joke and a bit of chat. The queue was long, sales no doubt as good as ever, and a lot of happy people. They were here to see and listen to one of the UK’s most popular Blues bands, maybe to take back a few souvenirs.
A small diversion from the play list as the second set opens, Its a request from a member of the audience. Enter Paul Jones, no accompaniment, he sings ‘Miss Otis Regrets’, the packed auditorium didn’t, regret that is, and he show moved on, all take a turn on vocal leads, with the exception of drummer, Rob.
Plenty of Blues, a bit of gospel, a bit of Rock & Roll in ‘Shake rattle and Roll’, and one I particularly enjoyed, apparently from their ‘Cross Borders’ DVD, ‘Lets Talk It Over. The Blues Band, no doubt will be back, this audience will be back, and so will I.
The Artrix as ever, attract fine bands, who know they will play to full houses, its arguably the outstanding theatre venue in our area, meeting the demand for top performances whatever the show.
Words and Photos By Graham Munn
Stomp & Holler Live @ The Artrix; Bromsgrove
Last year at Worcester Beer Festival, I saw and listened to Stomp & Holler’s first ‘outing’. Oliver and Abby had evolved from the Blues Tribe, were playing alongside Chris in ‘Mumbo Jumbo’ and had gathered a drummer, Martin, guitarist, Lee, and saxophonist, John. It had been a good evening, though possibly not fully appreciated by the ale enthusiasts glued to the muddy fields of last ‘summer’.
Enjoyable as the evening was, I felt Martin, the drummer, was not fully relaxed into his role. I saw a more complete and accomplished show at Ledbury theatre a few months later, and now here I was at the Artrix to see the band again, I knew Martin was a drummer of repute, and am pleased to say he has, in my humble opinion, grown roots in the band.
John I had seen before when guesting with the old Blues Tribe, and can really appreciate his breathing life into an array of sax’s, as well as some very nice touches on the flute.
Lee is a talented guitarist who has a distinctive influence on the overall sound of this Orleans style band.
The ‘Mumbo Jumbo’ element, Abby, Chris, and Oliver, fit well together as you would expect, but the style and direction is much livelier, with a mix of Blues, Jazz and Swing.
They open at full bore with signature piece ‘Crazy Up In Here’, with strong vocals from Abby and Oliver. Abby takes lead vocals, and she has a fine voice, in ‘Start It Up’, with Lee stepping forward for a spot in ‘Lucky Man’.
This is the aperitif for one of my particular favourites, sung with some real Cocker mouth grit (that’s Joe, not the little place in Cumbria), ‘St. James Infirmary Blues’. This is played at a funereal pace, suitable perhaps for the opening dirge at a New Orleans procession; it fits Oliver’s gritty vocals as if tailor made.
The first set ends with a strong driving blues of ‘Webstop Checker’, with leads coming from Lee, supported with Oliver’s trumpet and John’s sax, Martin firing up the furnace with Chris shovelling in the coal!
Second set kicks off with a heartfelt ‘Lonesome town’, with Oliver’s unique vocal qualities coming to the fore.
‘Whys It Always Me’, is a more cockney lad style, with Chris taking the vocals, feeding in back to Oliver for a gravel laden ‘Hadn’t Been For Love’, back in blues mode.
The evening seems to rush through, as is always the case when enjoying good music, Abby taking lead again with ‘Tell it Like It Is’; a chorus of ‘happy birthday’, were there really that many birthday’s in the Artrix that evening? A crowd pleasing ‘Evangeline’, running through to a reprise of ‘Crazy Up In Here’; which is where we came in. The difference here is the interwoven, layered vocals from Abby, Oliver, Lee, and Chris.
Overall a good night’s entertainment from 6 very accomplished musicians that have gelled well together since inception.
The music is eminently suitable for getting up and dancing, which I suspect many on the night would have liked to do, I believe the original plan was for the Artix to leave a floor are and partial seating. For whatever reason, it was fully seated, which meant much ‘squirming’ in seats, the standing ovation was inevitable, lets have more!
Words And Photos By Graham Munn
Counterfeit Stones Live @ Artrix Theatre 27/01/13
Well what can you do when Jagger, Richards, Watts, Wood and co. still desperate to fund their lifestyles and pay the alimony, will only play the big arenas at a price that would require me to take out a small mortgage for the tickets. Not forgetting to take a good pair of binoculars and a set of step ladders. What you do when you cant get no satisfaction is make do with a substitute…..Who, well these guys have been around a time, but it was fresh ground for me, The Counterfeit Stones, playing at a theatre near you!
A full house (both nights) were weaned into the opening ‘Route 66′, with a tongue in cheek video trailer; videos being used throughout as the band passes through its various stages, both dress and line up.
We see a subdued Brian, guitar and sitar, a ‘young’ Mick, strangely ageless! A youthful enthusiastic Keith, a Cool Charlie, who has seen it all, and Bill, oddly managing to stay with the band to-date; why man? Start to finish this show is a polished rock riot, plenty of humour, outfit and ‘line up’ changes (Brian Jones/Mick Taylor/Ron Wood seem all very familiar!) but the era’s are covered well. ‘Brian’s’ Sitar opens ‘Paint it Black’, many of the Stones greatest songs are featured, but ‘White Horses’, ‘Gimme Shelter’ and personal favourite, ‘Sympathy For the Devil’ stood out.
The band played to a sell out, partisan audience and could do no wrong; Keef may not have the dexterity of the real thing, and Mick could do with a stretching and loosening on the rack, but this was start to finish an entertaining evening. My biggest regret is not seeing the Stones in my earlier years, when they were accessible, and I had no cares, could travel to London for a few quid and a beer was 2’6d…..in a club. They may be counterfeit and on close inspection, look suspect, but it sounds and feels like the real thing; or as close as I’ll ever get.
At a theatre near you, they are playing Worcester Swan on April 25th, it will be a sell out, so dust off your drainpipes, dig out the shades, roll that joint and get your tickets now for a nostalgic trip into the legend that is The Stones, counterfeit or not!
Photos And Words By Graham Munn
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