Ladies and Gentlemen: Ian Siegal has entered the building. If you know the name, but not the game, it’s high time you made his acquaintance. He’s the multiple British Blues Awards winner and hot tip of everyone from Mojo to Classic Rock. He’s the songwriter whose recent CD releases sound like career peaks, but are only the start. From one night to the next, he might be a solo acoustic performer or a blood-and-thunder bandleader. Siegal is known as a bluesman, but it’s just one shade in the palette of an artist who slips between continents, eras and expectations. They say you can’t sing the blues until you’ve lived the life, and when Ian Siegal steps up to the mic, you can hear the slings and arrows. Recent years have seen the songwriter catch fire, with British Blues Awards raining down and consecutive nominations in 2012 & 2013 for Contemporary Album of The Year in the Blues Music Awards - in effect, the Grammys of the Blues. THE EARLY YEARS It has been said that had Siegal been around in the sixties he would today be accorded the same reverence as artists such as Van Morrison and Joe Cocker. Instead, he is a child of the seventies who dropped out of art college in the late eighties to go busking in Germany. From the streets of Berlin Siegal progressed to clubs around Nottingham in the UK, then to London and ultimately to major stages around Europe. Siegal’s forte is playing to an audience. He takes command of the stage in a way very few artists alive today can match. Sweat, passion, humour, balls-to-the-wind slide guitar and a soul-infused voice big enough to fell trees! It has won him an ever-growing following of fans and a horde of female admirers. His career got under way in 2003/04 with two successive European tours as the opening act for ex-Rolling Stone Bill Wyman’s Rhythm Kings (Wyman also invited Ian to record with the Rhythm Kings). This was followed by UK tours as a duo with Big Bill Morganfield (son of Muddy Waters). During this time Siegal was also capturing the hearts of audiences in Holland, Belgium, Austria and Hungary. In 2005 he topped the Soul/Blues/Jazz charts in Holland. His 2005 album Meat &Potatoes has been universally praised and gained a maximum four star (excellent) rating in the Penguin Book of Blues Recordings – Ian is one of only two living British Blues artists to gain this distinction. Meat & Potatoes was later re-released as a limited edition together with a DVD of his stunning performance on the main stage at the North Sea Jazz Festival. That was followed by Swagger his 2007 release, which again received universal praise, “No less of a testament to the talents of one of the most innovative, gifted and engaging blues performers on the planet today.” MOJO magazine ranked Swagger as their no.2 Blues album of 2007. Siegal is equally accomplished solo as he is fronting his band. In response to fans requests for an acoustic album The Dust was released at the end of 2008. A collection of new songs and some old favourites (with noted pedal steel guitarist B.J.Cole appearing on a few tracks), the CD quickly entered HMV’s roots chart, and again made No.2 in MOJO magazine’s Blues album chart – this time for 2008. His Oct 09 release Broadside finally gave Ian the top spot in MOJO’s annual Blues album chart. Siegal’s May ‘11 release The Skinny is an album recorded in north Mississippi with Grammy nominee Cody Dickinson of the North Mississippi Allstars as producer. A band was assembled from musicians in the area including Gary Burnside, Robert Kimbrough and Rodd Bland, all offspring of notable bluesmen. Ian returned to north Mississippi in May 2012 to collaborate with another dream-team of local legends that he collectively coined The Mississippi Mudbloods. Joining Ian and Cody Dickinson were Cody’s bother Luther Dickinson, and Alvin Youngblood Hart. Ian first met Alvin during The Skinny sessions, when the Grammy-winning guitarist swung by the studio and ended up tracking some guitar and backing vocals. The end result of this second visit to the Zebra Ranch Studio is Candy Store Kid, which released October 2012 and quickly reached no.1 in the iTunes UK blues chart and garnered a swathe of awards in the UK and nominations in the USA. Ian has become established in Europe as one of the most natural, exciting and vibrant talents on the scene today. Each year the stages get bigger, but what sticks most in Ian’s mind is his guest appearance with then 92-year old Pinetop Perkins and some of the other remaining members of Muddy Waters’ band. This was at London’s Jazz Café in 2005 to a packed house. Then later at a festival in Norway, in a role reversal, these legends of post-war Blues spontaneously joined Ian on stage for what turned into a memorable hour-long set. In a twist to his career, Ian performed for several years with France’s Orchestre National de Jazz in a program of Billie Holiday songs entitled “Broadway in Satin.” Backed by a 12-piece orchestra of young hand-picked musicians and accompanied by the French singer, Karen Lanaud, Broadway in Satin has performed at major festivals across France and as far afield as South America and East Africa.
Little Hook - 21:45-22:45
U dacht dat de Belgische bluesscene een beetje uitgestorven was? We moeten u tegenspreken: eerder op de avond waren er al de gasten van Sugaree en nu is er Little Hook, het project van Luikenaar en ex-Teebassist Renaud Lesire. Hij neemt ons aller “Big Dave” Reniers (zang en harmonica), oude krijger Steve “Dynamite” Wouters (jawel, die van Last Call) en nogal jonge hond Bart Mulders mee op pad en samen reizen ze door het land van de echte blues. Nu nog (al te) onbekend, maar dat blijft vast niet duren, want deze heren hebben de microbe serieus in hun beenmerg zitten. Een grote vuurdoop voor een jonge band vol ervaren rotten: ook dat is Peer op vrijdag!
Little Steven And The Big Beat - 20:15-21:15
Based in the Netherlands and formed around 'Little' Steve van der Nat (the Backbones, Dede Priest) on guitar and vocals, Little Steve & the Big Beat started playing their blues in January 2013. After a handful of gigs in just a couple months the band has already received raving crits, often describing Little Steve & the Big Beat as a topband and a possible closing act for festivals. Little Steve & the Big Beat take the blues, add some soul, and play it the way they feel it is supposed to be played; fiery guitar playing and emotional vocals on top of a solid, groovin' rhythm section. Staying true to tradition while not merely imitating, but adding their own voice to this expressive style of music. In both their original songs and covers you hear influences from blues and soul artists such as Freddie King, Johnny 'Guitar' Watson, Jimmie Vaughan and Clarence Carter. In May 2013 the band released their first EP, consisting of 3 original tunes (Working Overtime, Hard Times and Count On You) and 2 covers (Feel So Bad, Slip Away). More positive reviews followed quickly, just to quote only a few: "Now we will have to wait for a full album. If that will be on the level of this EP then it will be a gem. This EP tastes like more, much more." “..this EP turned out to be a pleasant surprise and definitely measures up to the good reviews their live gigs have been receiving." Next to Little Steve on vocals and guitar the band consists of Martijn van Toor (Tinez Roots Club) and Evert Hoedt (the Electrophonics) on tenor and baritone saxophones, Bird Stevens (the Big Four Quintet, Different Tacos) on bass and Jody van Ooijen (Rootback, Qeaux Qeaux Joans) on drums.
Sugaree - 19:00-19:45
En u weet dat we met BEAT Roots niet te beroerd zijn om de new kids in town een podium te geven. En hoewel ‘nieuw’ hier een relatief begrip is (de band is jong maar de leden zijn ervaren), huldigen we deze traditie ook op deze editie – en met gepaste trots! Men neme wat (ex-)leden van bands als the Seatsniffers, Moonshine Reunion, Clark & the Aces, Los Fabulous Frankies en The Rhythm Chiefs; men shaket (nóóit ROEREN!!) dit alles tot een pittigzoete mix; en daar hebt u het… SUGAREE. Voor de ‘Antwerp connection’ springen Clark Kenis (vocals & bass) en saxofonist Roel ‘Sniffer’ Jacobs in het oog; maar de algehele liefhebber kijkt eveneens rijkhalzend uit naar Dusty Cigar; het ultra sympatico gitaarwonder uit Dordrecht.
zaterdag 18 juli 2015
Melissa Etheridge - 21:45-23:15
Melissa Etheridge became one of the most popular recording artists of the '90s due to her mixture of confessional lyrics, pop-based folk-rock, and raspy, Janis Joplin/Rod Stewart-esque vocals. But the road to stardom was not all smooth sailing for Etheridge as she debated behind the scenes whether or not to disclose to the public that she was gay early on in her career. Born May 29, 1961, in Leavenworth, Kansas, Etheridge first picked up the guitar at the age of eight and began penning her own songs shortly thereafter. Playing in local bands throughout her teens, Etheridge then attended the renowned Berklee College of Music in Boston, Massachusetts. The up-and-coming singer/songwriter and guitarist dropped out after a year before making her way to Los Angeles in the early '80s to take a shot at a career in music. At this point, Etheridge's music was slightly more bluesy than her subsequently renowned folk-pop style, as a demo of original compositions caught the attention of Bill Leopold, who signed on as Etheridge's manager. Soon after, steady gigs began coming her way, including a five-night-a-week residency at the Executive Suite in Long Beach, which led to a bidding war between such major record labels as A&M, Capitol, EMI, and Warner Bros., but it was Island Records that Etheridge decided to go with. Etheridge's first recorded work appeared on the forgotten soundtrack to the Nick Nolte prison movie Weeds before her self-titled debut was issued in 1988. The album quickly drew comparisons to such heavyweights as Bruce Springsteen and John Mellencamp, as it spawned the hit single "Bring Me Some Water" and earned gold certification. In the wake of the album's success, Etheridge performed at the Grammy Awards the following year and contributed vocals to Don Henley's The End of the Innocence. Etheridge managed to avoid the dreaded sophomore slump with 1989's Brave and Crazy, which followed the same musical formula as its predecessor and proved to be another gold-certified success. It would be nearly three years before Etheridge's next studio album appeared, however, and 1992 signaled the arrival of Never Enough, an album that proved to be more musically varied. But it was Etheridge's fourth release that would prove to be her massive commercial breakthrough. Tired of rumors and questions regarding her sexuality, Etheridge decided to put the speculation to rest once and for all, titling the album Yes I Am. Ex-Police producer Hugh Padgham guided the album, which spawned two major MTV/radio hits with "I'm the Only One" and "Come to My Window" (the latter of which featured a video with movie actress Juliette Lewis); the album would sell a staggering six million copies in the U.S. during a single-year period and earned a 1995 Grammy Award for Best Female Rock Vocalist. But subsequent releases failed to match the success of Yes I Am, including 1995's Your Little Secret, 1999's Breakdown, and 2001's Skin, the latter of which dealt with her separation from Julie Cypher. (Cypher had birthed the couple's two children via artificial insemination; CSN&Y's David Crosby was the father.) The Truth Is: My Life in Love and Music, was released in 2002, and 2004's Lucky was her celebration of a new romance. Later that same year Etheridge revealed that she'd been diagnosed with breast cancer. But early detection allowed for recovery, and she gave strength to many of those stricken by the disease with a powerful performance of Janis Joplin's "Piece of My Heart" at the 47th annual Grammys, held in February 2005. That September, Etheridge released Greatest Hits: The Road Less Traveled, a compilation of career highlights and new material. It featured a cover of Tom Petty's "Refugee" as well as "Piece of My Heart" and a new song dedicated to breast cancer survivors. In 2007, Etheridge released her first studio album of new material in three years, The Awakening, on Island, following it a year later in 2008 with a holiday album, A New Thought for Christmas, also on Island. Fearless Love appeared early in 2010. Her 12th studio album, 4th Street Feeling (named for the main drag in her hometown of Leavenworth, Kansas) was released in 2012; it marked the first occasion in her career when Etheridge played all the guitar parts on one of her recordings. Two years later, she went independent with her 13th album, This Is M.E., an ambitious collection that saw her collaborating with several different producers including R&B specialists Roccstar and Jon Levine. ~ Greg Prato, Rovi (Bron: MTV)
Emmylou Harris & Rodney Crowell - 19:45-21:15
During the '70s Emmylou Harris' clear, plaintive soprano made her a country hitmaker, and the neotraditionalist arrangements on her records appealed to rock & folk fans as well. A prolific performer, Harris has continued to garner attention and praise for her work, which has been enriched by superb supporting and collaborating musicians, and has included covers of material by song bards ranging from Gram Parsons to Bruce Springsteen to Lucinda Williams. Harris grew up in a Virginia suburb of Washington. In high school she was a cheerleader, beauty pageant queen, and class valedictorian; she also played alto sax in the marching band. In 1965 she enrolled at the University of North Carolina at Greensboro and played there with a folk duo, but moved to Greenwich Village a year and a half later, where she played clubs and sat in with Jerry Jeff Walker and David Bromberg. She also recorded an unsuccessful album for the small Jubilee label. In 1970, after a short time in Nashville, she returned to her parents' house in Washington DC, where she eventually found a band and began gigging locally. After one DC club performance, Harris met the Flying Burrito Brothers; impressed by her voice, they recommended her to ex-member Gram Parsons [see entry], who was looking for a female duet partner for his upcoming debut solo recording. Parsons became a huge influence on Harris, introducing her to the music of such classic country greats as the Louvin Brothers. The two collaborated (on two Parsons albums and on a Fallen Angels tour) until Parsons' fatal overdose in September 1973. Devastated by Parsons' death, she later wrote a song about him, "Boulder to Birmingham," and over the years kept his music alive by recording his songs. Harris subsequently formed a new group, including some former Parsons sidemen, and signed with Warner Bros. On 1975's Pieces of the Sky, she was backed by Elvis Presley's former sidemen Ron Tutt, James Burton, and Glen D. Hardin. Harris' touring group, dubbed the Hot Band, included songwriter Rodney Crowell [see entry] on guitar and harmony vocals, bassist Emory Gordy Jr., and pedal steel guitarist Hank DeVito. Guitarist Albert Lee and mandolinist/guitarist Ricky Skaggs [see entry] also played with Harris. In 1975 her remake of the Louvin Brothers' "If I Could Only Win Your Love" topped the country chart; subsequent C&W hits included "Together Again" (#1, 1976), "One of These Days" (#3, 1976), "Sweet Dreams" (#1, 1976), "(You Can Never Tell) C'est La Vie" (#6, 1977), "Making Believe" (#8, 1977), and "To Daddy" (#3, 1977). Elite Hotel and Luxury Liner also attracted some rock fans, and she appeared in studio footage for the Band's 1976 documentary The Last Waltz, singing Robbie Robertson's "Evangeline." In 1980 she teamed with Roy Orbison for "That Lovin' You Feelin' Again," a #55 pop single that year (also featured on the soundtrack of the film The Roadie). In 1977 Harris married producer Brian Ahern, who had played a large role in shaping her early hits (and whose other credits included Anne Murray and Crowell). She began focusing on pure country material, and Blue Kentucky Girl won a Grammy for Best Female Country Vocal Performance. There were more C&W hits: "Two More Bottles of Wine" (#1, 1978), a cover of the Drifters' "Save The Last Dance For Me" (#4, 1979), and "Blue Kentucky Girl" (#6, 1979). By 1982, Harris had eight gold albums. The early '80s also brought numerous top country singles: "Beneath Still Waters" (#1, 1980), "Wayfaring Stranger" (#7, 1980), a cover of the Chordettes' "Mister Sandman" (#10, 1981), a duet with Don Williams, "If I Needed You" (#3, 1982), "(Lost His Love) On Our Last Date" (#1, 1983), "I'm Movin' On" (#5, 1983), "In My Dreams" (#9, 1984), and "Pledging My Love" (#9, 1984). Harris' marriage to Ahern ended in 1983, and she relocated to Nashville. In 1985 she released The Ballad of Sally Rose, a loosely autobiographical "country opera," to great acclaim. Harris co-wrote and co-produced the album with her second husband, the Grammy-winning songwriter Paul Kennerley. In 1987 Harris' long-anticipated collaboration with Dolly Parton and Linda Ronstadt (who had both appeared on Sally Rose) finally came to fruition with Trio. It went platinum, reached #6 on the pop chart, and yielded C&W smashes with a version of the Phil Spector-penned 1958 #1 Teddy Bears hit "To Know Him Is To Love Him" (#1, 1987), "Telling Me Lies" (#3, 1987), "Those Memories of You" (#5, 1987), and "Wildflowers" (#6, 1988). Harris' other 1988 hits included "We Believe in Happy Endings" (#1), with Earl Thomas Conley, and "Heartbreak Hill" (#8). In 1990 she had a #24 pop album, a compilation of previously released Duets pairing her with everyone from Gram Parsons to George Jones and Willie Nelson. She then replaced her longtime Hot Band with an acoustic aggregation, the Nash Ramblers. In 1991 Harris recorded At The Ryman live at the Grand Ole Opry's venerable auditorium. Her 1993 album, Cowgirl's Prayer, reached only #34 on the country charts but was a critical favorite. Harris essentially cut her ties to the Nashville hit mill when she released her 1995 album, Wrecking Ball. She has always pushed country music's boundaries, but nothing in her catalog anticipated such a departure. Produced by Daniel Lanois and recorded mainly with rock musicians, including U2 drummer Larry Mullen Jr., the album features unvarnished, otherworldly renditions of songs written by Bob Dylan, Jimi Hendrix, Steve Earle, and other lesser-known artists. Critics hailed the projects as a triumph of innovation even as it alienated fans of Harris' more country-sounding work. It won the 1995 Grammy for Best Contemporary Folk Album. In 1998 Harris signed with Eminent Records, a Nashville independent label, and released Spyboy, a live set featuring her touring band of the same name. Harris and guitarist Buddy Miller coproduced the album, which functions as something of a career retrospective. In 1999 Harris, Parton, and Ronstadt teamed up for a haunting duo record, Western Wall: The Tucson Sessions, later in the year. Harris executive produced and sang on Return of the Grievous Angel: A Tribute to Gram Parsons, released by Almo Sounds in 1999. The record featured covers of Parsons' songs by Elvis Costello, Beck, and Sheryl Crow, among others. In 1999 Harris won the prestigious Billboard Century Award. Her 2000 release, Red Dirt Girl, continued in the same vein of Wrecking Ball, but was composed of Harris originals. The album won a Grammy for Best Contemporary Folk Recording. (Bron: Rolling Stone)
Guitar Shorty - 18:00-19:15
David William Kearney, alias Guitar Shorty, werd onlangs 75 en draait al bijna zestig jaar mee aan de top van de blues en de bluesrock. De man heeft zijn bijnaam niet gestolen, want zijn gitaarspel is niet alleen zijn handelsmerk, het is vooral heel herkenbaar en ijzersterk. Hij was bandlid bij Ray Charles,doorkruiste de States als gitarist van Sam Cooke en is getrouwd met de halfzus van Jimi Hendrix: zo weet je meteen waar die de mosterd vandaan haalde. Tja… er zijn er niet veel die dergelijke pluim op de hoed mogen steken. Een W.C. Handy Award werd zijn deel voor “My Way Or The Highway” dat hij in 1991 opnam met Otis Grand en dat rechtstreeks de aanleiding was voor een hernieuwde belangstelling voor de man en zijn gitaar in de States. Sinds zowat vijfentwintig jaar kwamen er geregeld nieuwe platen, maar het zijn vooral de liveshows die nogal uitzinnig durven te verlopen. Verwacht u aan eigen werk, maar evengoed aan “Voodoo Chile” of Hey Joe”. Een concert om reikhalzend naar uit te kijken temeer omdat de man slechts heel sporadisch in Europa te bewonderen is.
Shakura S’Aida - 16:15-17:30
Born in Brooklyn, New York. Raised in Switzerland. A long-time Canadian who lives in Toronto. That’s Shakura S’Aida, a truly international artist whose involvement in the Canadian music scene has been ongoing for the almost 25 years. Along the way, she has enriched the jazz, blues and classic R&B communities with her soulful voice, enthusiastic personality and commitment to her deep soul music. Now she’s released Time, a double CD that gives her growing international audience tastes of her different musical approaches to blues, soul and rock and roll. And Shakura takes her music wherever there’s an audience in the past two years alone she has performed in the Caribbean, Moscow, Dubai, Romania, Switzerland, Canada, the United States, Australia, Austria, Italy, Germany, France, Macedonia, Switzerland and helped organize a festival in Kigali, the capital of Rwanda. Whether she’s speaking Swiss-German, French or English, Shakura instantly connects with her audience — and at the same time richly demonstrates the multiculturalism that Canada prides itself on. Taking her time: A new double CD Time, her new double CD, was released in April 2012 by ElectroFi, a Toronto-based label with distribution around the world. This third album was two years in the making, following the 2010 release of Brown Sugar on the German label Ruf Records. Her well-received independent debut, Blueprint, helped establish her a major figure on the scene and Time promises to continue that tradition by starting off the year by garnering four different national and international music award nominations: 2013 Juno Award Nominee-Best Blues Album of the Year 2013 Blues Music Awards Nominee-Contemporary Female Artist 2013 Indie Music Awards Nominee-Blues Artist of the Year 2013 Maple Blues Awards: Entertainer, Female Vocalist, Recording/Producer (w/Howard Ayee & Scott Cable) and Songwriter of the Year (w/Donna Grantis) The first disc of the new set, titled Time to Rock My Soul, opens with a masterful reworking (and rewrite) of an old Long John Baldry hit — and it sets the tough-edged tone of the disc perfectly. And the second song — the album title track “Time” — proves that her bold, powerful take on classic rockin’ blues is a personal triumph. Best of all, the songs are delivered with aching, emotion-laced vocals and powerful instrumental support. The second CD in the set, Time for the Blues, is a little more laid back (but only a little, on some of the tunes!), and more acoustic in its approach. There is a more noticeable nod to the past, given “Geechee Woman,” which could have been sung by Bessie Smith, and “Tell Me More,” a wistful Billie Holiday song. The key players on Brown Sugar have returned — show-stopping guitarist Donna Grantis and keyboard ace Lance Andersen — along with bassist Roger Williams and drummers Tony Rabalao and Shamakah Ali lock down the rhythm section. Other guests make sterling contributions: Brooke Blackburn (guitar), Kenny “Blues Boss” Wayne (piano), Harrison Kennedy (vocals, guitar and harmonica), and the horn section from the Toronto Women’s Blues Revue. Deep background: Shakura S’Aida — pronounce her name “Shack-oora Sigh-ee-da”— began performing at a young girl. Her first steps into music began with a Toronto community band called Mystique, which found her belting out tunes alongside Deborah Cox, and then became the lead singer in a 13-piece world music band, Kaleefah, that would later be nominated for a Juno Award. She quickly learned how to own the stage and “perform,” a skill she has since carried to the musical stage with roles in such productions as Ain’t Misbehavin’ and Momma, I Want to Sing, and to the theatre as an actress in the Toronto production of George Boyd’s Consecrated Ground in 2004). She also carried off supporting roles in a number of Canadian-made films, and she was featured in an installment of Flashpoint, a major CTV television series that’s also been aired in the U.S. As a solo artist, Shakura’s career has spanned genres and countries and taken her to some of the most noted stages in the jazz world. She’s performed at the Apollo Theatre in New York and has also been featured with the legendary Jimmy Smith; she’s sung in a backup choir with Patti Labelle, and is equally at home singing material with a Ray Charles tribute band, or presenting a one-woman show of the music of Nina Simone. Her new symphony orchestra concert, “Blues in G Minor: 4 Women”, featuring the blues music of Etta James, Billie Holiday and Nina Simone starts touring Canada in 2014. Shakura’s long-simmering career initially moved into high gear in 2008 with a triumph at the International Blues Challenge in Memphis, when she earned the runner-up position, competing against more than 100 bands from more than 20 different countries. A final word: “I am truly blessed by all the incredible opportunities I have had,” says Shakura. “My life has been filled with amazing adventures; I can’t wait to see what happens next!”
Wille & The Bandits - 14:25-15:45
Dit trio ongewone Engelsen maakt in een klassieke powerrockopstelling, muziek die je net zo goed bij “wereldmuziek” kunt klasseren. Dat heeft te maken met hun nogal ongebruikelijk instrumentarium maar vooral met de brede kijk die ze hebben op melodieën en ritmes. Blues en rock zijn de pijlers, maar net zo goed komen soul en funk om het hoekje kijken. Wille’s slidespel is niet alleen maar flitsend, het is origineel en bijzonder melodieus. Je kon hen al op Rockpalast zien, ze toerden met Deep Purple, Joe Bonamassa is fan, Francis Rossi van Status Quo ook… Referenties die kunnen tellen.
Dynamite Blues Band - 13:15-14:15
Wesley, Niels and JJ, who played in the very successful Dutch blues band “Big Blind”, team up again to create a new explosion of blues music. Together with brand-new stompin’ bass player Renzo van Leeuwen they form this new band that delivers a fat, dirty sounding blues as it was originally intended. The Dynamite Blues Band has only seen the light in February 2013 but were already invited for several blues festivals throughout Europe even before playing or recording a single note! Everybody just knows it’s firework when these guys play together. Their debut album “Shakedown & Boogie” was released in September 2014 and got raving reviews in all major Dutch magazines. They also got extensive airplay on Dutch and Belgian radio, including national stations. To top it off they performed on the biggest TV talkshow in The Netherlands “De Wereld Draait Door” reaching over a million viewers. Many bookings for shows followed, a.o. for the prestigious Ribs & Blues festival. It doesn’t matter if it’s a small music cafe, big club or festival, they turn the joint upside down! So be prepared when the Dynamite Blues Band is coming to your town and remember that wearing a helmet, safety glasses and ear protection is not just a luxury!
Claude Hay - 12:00-12:45
Helemaal van Down Under komt Claude Hay, een hier nog niet zo bekend snarenwonder, dat niet vies is van elektronische drums en sitar. Om maar te zeggen dat deze man uit Katoomba, New South Wales, een beetje een buitenbeentje is. De songs van Claude bevatten evenveel roots als blues en rock en voldoen niet meteen aan de standaard van de twaalfmatenversie uit Sweet Home Chicago, maar toch is Hay een rasechte bluesman, want “blues is a feeling”. De nieuwe CD moet er tegen ons festival zijn, al heeft de man meer dan voldoende aan zijn vorige drie platen om u een fijn openingsmoment te bezorgen. Situeer hem halverwege tussen C.W. Stoneking en The Queens of The Stone Age en u kan zich een beetje een idee vormen van wat u van deze one man band kan verwachten.
zondag 19 juli 2015
Beth Hart - 21:45-23:15
Some say there can be no artistry without agony. And the real life-changing events that shape the creative spirit don’t happen overnight. Beth Hart has been dealing with demons that have pursued her for her whole life: her older sister who died from complications from AIDS when Beth was only 20 and her own battle with drugs, booze, bad relationships, bad decisions and ultimately the diagnosis that tied the knot on the whole damn thing, bi-polar disorder. It’s enough to send anyone into a downward spiral that’s inescapable. And on face value, her new album, Better Than Home, is saying, “anything is better than those demons, so I’m gonna go out of my way to create something better than that.” But, hold on for a minute, what’s been so bad about Beth’s life so far? Okay, she’s had issues, but look what she did in spite of them. After her close friend and manager, David Wolff, saw her performing on the streets of LA, she got her record deal with Atlantic in a matter of weeks. What did they all see that even Beth sometimes didn’t? Why did three of the most successful producer-icons in the music business, David Foster, Hugh Padgem and Mike Clink, agree to work together on her debut album, Immortal? They all heard the same thing: a voice that inspires you, transforms you and takes you to the very depths of the human soul. Her second album, Screamin’ For My Supper, with more than half the songs written solely by Beth herself, produced the hit single, L.A. Song (Out Of This Town). The single reached #6 in the Billboard Modern AC chart and #7 in the Adult Top 40 chart. On the tour that followed, she met Scott Guetzkow, who was a drum technician, and later became her road manager. Anytime Beth would fall down, Scott, her “rock”, was there to help her up. And, as this bond grew, so did their feelings for each other, and they got married. And when good things happen, better things follow. Her third album, Leave The Light On, was a critical success in the U.S., went platinum and the single Learning To Live reached #1 in Denmark. It marked the beginning of Europe’s love affair with her that’s still going strong. Her first live album was recorded in Amsterdam. Live At Paradiso has survived the test of time and it is still one of the most talked-about Beth Hart performances. 37 Days was recorded live with her touring band at the time. The album was recorded and mixed over a period of 37 days; hence the title. It produced a #1 single in Denmark: As Good As It Gets. Not only did she get the European audience’s attention, but also the incomparable Jeff Beck, who invited her to tour with him as his lead singer on one of his US tours. The production of My California led to Beth’s collaboration with lead guitar superstar: Slash. He played on the track, Sister Heroine, and then Beth co-wrote and sang the song Mother Maria, which was released on his own album. This was the beginning of a friendship and collaboration with Slash that saw them performing together a number of times. The album Bang Bang Boom Boom, made it to #3 in the Billboard Top Blues Album chart and shortly thereafter, Beth was nominated for a Blues Music Award. In addition to Beth’s solo albums, she has also recorded two albums with blues icon Joe Bonamassa: Don’t Explain and Seesaw. Seesaw was nominated for a Grammy and Beth was nominated for a Blues Music Award for her performance on that album. The album, as well, reached #1 on the Billboard Blues Albums chart, #8 on the Billboard Top Independent Albums Chart and #47 in the Billboard 200 Chart. The Don’t Explain album made it to #3 on the Billboard Blues Albums chart, #22 on the Billboard Top Independent Albums chart and into the Billboard 200. The stage was now set for a life-changing musical event for Beth. In 2012, Beth appeared with Jeff Beck at the Kennedy Center Honors to celebrate Buddy Guy and his remarkable musical legacy with a once-in-a-lifetime rendition of Etta James’ I’d Rather Go Blind. What followed was one of the only two standing ovations of the evening, led by President Barack Obama and his wife, Michelle. If any of Beth’s demons were around that night, a few million television viewers were completely unaware of it. This performance also led to collaboration with Beth and Buddy Guy; she sang on his new album Rhythm & Blues, another affirmation of Beth being regarded as one of the great vocalists of our times. The producer of the Kennedy Center Honors, Michael Stevens, and the musical director, Rob Mathes, saw what people have been seeing for nearly 20 years: a woman who wears her soul on her sleeve and has the pipes to back it up. Michael and Rob decided to produce her new album, Better Than Home. No words do a better job of summing up what this new album is all about, than the lyrics to the title song: I can feel my body breathing I can feel my heart movin’ fast I am not afraid or lonely I am not chasing the ghost of the past Beth’s putting those demons behind her, embracing the great things she’s done and the good things she has and looking forward, because no matter how bad things got sometimes, no matter how dark the sky, something always drove her into the light. And this new album celebrates that with all that firepower she’s been generating over the years. The track, Mechanical Heart, is her love song to Scott: If only I had a human touch I’d give you the love you deserve so much Tell Them To Hold On talks about how we deal with our fears: Everyone’s looking for something to hold Some kind of savior they need to be told To hold on St. Teresa is narrated by a man in prison and reflects how recovery from her demons and afflictions required no conversion, only renewal. Mother is it ok if I call you mama? My own walked away when I broke the law And standing on the bridge feeling like falling Would you pray for me mama So maybe Better Than Home isn’t about running away from your past and the demons that have been chasing you. Maybe it’s merely about acknowledging that things weren’t perfect, but there’s always a better place that you can go to help you move on. This album isn’t about what’s been wrong with Beth’s life. Instead, she’s choosing to find the good things that have been there all along: accepting and loving her parents for who they really are, appreciating her good husband, facing her fears head on and ultimately finding ways to heal and convert that positive energy into music that moves people. Look at what Beth has accomplished so far in her career: hit after hit, chart after chart, iconic guitar legends performing with her, top music producers and musicians eager to work with her, ever-growing audiences flocking to her shows in the US and Europe as well as newer ventures into Australia, New Zealand, Russia, Armenia, Georgia, to name a few. Beth will be the first one to tell you she’s not perfect. She won’t gloss over the truth and owns up to the damage she sometimes did to herself. But when you hear Better Than Home, you want to tell Beth it’s all good. You want to say to her, “Most people don’t even know people who have reached the artistic heights you have.” And if you want to hear first-hand how someone puts the demons in her life in their place, just listen. Better Than Home is the best place Beth Hart has ever been.
Eric Burdon And The Animals - 19:45-21:15
We hebben hier in Peer een reputatie hoog te houden: wij weten namelijk nogal goed waar en hoe we de hele groten uit ons muziekverleden moeten gaan zoeken om U de kans te geven hen nog eens aan het werk te zien. Dit jaar viel onze keuze op Eric Burdon, een man van vele oorlogen. 74 is hij ondertussen, en hij heeft een stamboom om van te duizelen: The Animals, War…namen die een flink hoofdstuk geschreven hebben in het grote geschiedenisboek van de populaire muziek. Wie kent ze niet, de hits als “House of The Rising Sun”, “Don’t Let Me Be Misunderstood”, “We Gotta Get Out Of This Place”,”It’s My Life”, “Don’t Bring Me Down”, “San Franciscan Nights”…allemaal nummers die Eric met The Animals opnam. Met War volgde ondermeer “Spill The Wine”. Eric verdween een beetje uit de aandacht, maar bleef wel altijd platen maken. Zo waren er samenwerkingen met Alexis Korner, met Jimmy Witherspoon, met The Blues Knights… en sinds een zestal jaar toert hij ook weer geregeld doorheen voornamelijk West-Europa.en de CD “Till Your River Runs Dry” werd in 2013 door menig muziekblad in de eindejaarslijstjes opgenomen. Het gebeurt niet al te vaak dat we hier iemand over de vloer krijgen, die lid is van de Rock ‘n’ Roll Hall of Fame. Eric Burdon is zo iemand en dus zijn we echt trots dat hij hier is. Wie hem recent nog live bezig zag, is in de wolken over de show die de man nog altijd brengt.
K’s Choice - 18:00-19:15
Er zijn zo van die bands, die een heel eigen koers varen en precies daarom door menigeen in het hart gesloten worden. De band van Sarah en Gert Bettens is er zo eentje. Al sinds ze zo’n 20 jaar geleden stormenderhand Vlaanderen en Nederland veroverden met hun bijzondere mix van rock en pop, hebben wij een levensgrote boon voor hen. Het parcours mag er dan eentje geweest zijn met een paar hindernissen, één ding kan je onmogelijk ontkennen: als broer en zus Bettens vinden dat hun songs niet goed genoeg zijn, dan brengen ze die niet uit. Als ze vinden dat het tijd is om de klok even stil te zetten en met andere dingen in het Leven bezig te zijn dan muziek, dat stappen ze er voor een (paar) jaar uit en komen ze later als herboren terug. De laatste comeback werd eigenlijk al een jaar of vijf geleden ingezet, maar het is pas sinds begin dit jaar dat de band er opnieuw volledig staat. Er is een dijk van een nieuwe rockplaat, die overloopt van superstraffe songs en live merk je dat ze opnieuw heel veel goesting hebben om erin te vliegen. De liveshows van K’s Choice hadden sowieso al de naam dat ze wel eens op een feestje durfden uit te draaien en daar is in deze vernieuwde versie geen spatje verval op te bekennen. Deze mensen zijn door en door geroutineerd en kunnen heel groot uit de hoek komen. Dat hun oudere werk voldoende bekende songs bevat om meer dan een verzamelplaat mee te vullen, zal allicht ook helpen om het feestje, dat we bij The Scabs aankondigden, met een paar uur te verlengen.
The Scabs - 16:15-17:30
Belgian's band with the highest degree of "rock & roll". Started as a bunch of angry young men in 1981 and made a smashing knock on the door debut with a few singles ("So called friends / Frozen faces" and "There's nothing wrong / Beat me up"), a track on the album "No big business" ("Is this life?") and the mini-album "Here's to you Gang". The group was at the time most often compared with The Clash. The reward : a place at Torhout-Werchter, the biggest summer festival of Belgium. After a less well-received second album (produced by the producer of the Bollock Brothers Ian O'Higgins) "For all the wolf calls", the group starts searching for a new direction. This is found on the album "Skintight" and in the person of Willy Willy - the Sir Keith of Richards of Belgian Rock music. Ironically the Scabs find their way to a much broader audience with the muted singles "Stay", "Halfway home" and the beautiful "Crystal Eyes". The albums however contain loud rocking music. "Ballads are the only way to get some airplay", said Willy "A song like that can be used in more programs than a loud song. Call it compliance, without giving in." The next two records get a gold status even before their release and the hits keep coming : "Don't you know", "Robbin' the liquor store", "Nothing on my radio", "She's jivin'", "Hard times", "Hard to forget" ... and a whole bunch of brilliant other songs. This is the second golden period of the Scabs. In 1992, they finally get another place at Torhout-Werchter after the album "Jumping the tracks". After 1993, it somehow seems to get more difficult to get their act together on album. Their live-reputation however remains untainted, and is recorded for their offspring on the double live album "Live dog". The culmination of their shows is the Neil Young classic "Rockin' in the free world". Although the Scabs have perhaps the most international sound and song-writing talent of the Belgian bands, never in their career a international breakthrough comes into reach. The band keeps searching for the right combination. The 1993 album, produced by Mike Vernon, gets received also received very well. In Humo "We wouldn't know if we finally heard the réal Scabs, We don't have a clue what road they will go on next, we wouldn't know if "Dog days are over" is the definitive Scabs album : it is the best, most complete album they have ever made. We're a little confused. Wanna bet we will get on the wrong train again tonight ?" Willy Willy steps out of the band in 1994 (saying the Scabs weren't experimenting enough anymore) and is replaced by the former guitarist of Clouseau, Tjenne Berghmans. This move prolongs their career for a good year, but doesn't manage to revitalize the band. At the end of 1996, Guy Swinnen decides to call it a day and Belgiums finest rock band is no more. Frank Saenen, who went to play with Whim Punk after the Scabs, tried it for some time with "Temple Bellona" (split in June 1999). In 1998, he became part of Belgian's original punk band The Kids. Guy Swinnen has launched a solo career (I'm alive !!) and has already gained his own place in the Archives. Willy Willy revealed early 1999 that he had formed a band called "Willy Willy and the Voodoo Band", released two albums with this band.
Albums : - Here's to you, Gang (EMI - 1983) - For all the wolf calls (EMI - 1984) - Rockery (Smash! - 1986) - Skintight (Play it again Sam - 1988) - Royalty in Exile (Play it again Sam - 1990) - Jumping the tracks (Play it again Sam - 1991) - Inbetweenies (Play it again sam - 1993) - Dog days are over (Play it again Sam - 1993) - Live Dog (Play it again Sam - 1994) - Wasteland (Play it again Sam - 1995)
Compilations : - Gangbang (Play it again Sam - 1989) - Early years (EMI - 1992). - Hard To Forget (PIAS - 1996)
Bio werd samengesteld door Dirk Houbrechts
Preston Shannon - 14:45-15:45
Eindelijk hebben we hem hier, Preston Shannon. De man is al bijna veertig jaar bezig een heel eigen soort soulblues te ontwikkelen en verfijnen, en toch duurde het tot midden jaren ’90 van voorbije eeuw, vooraleer hij echt ontdekt -door Ron Levy-werd en een platencontract kreeg. Het voordeel dààrbij was, dat hij de kans had gekregen zichzelf te bekwamen tot een meesterlijke gitarist, die door heel veel live te spelen een ijzersterke reputatie had opgebouwd. De platen die hij vanaf toen kon uitbrengen, stonden vanaf het begin als een huis. Shannon speelt altijd met blazers erbij. Dat heeft zijn rauwe deepfried soulblues ook nodig en het maakt hem tegelijk uniek. Hij is, vandaag de dag, de onbetwiste koning van Beale Street in Memphis. Met zijn stem, die evenveel van Otis Redding als van Bobby Womack heeft, met zijn bijzonder dansbare songs en zijn vlijmscherpe arrangementen, heeft Preston zich een heel grote, trouwe schare fans verworven en het is dan ook met gepaste trots dat we hem dit jaar verwelkomen. Een heel bijzonder talent, één van de weinige nog echte bluesmen.
Rootbag - 13:15-14:15
Ook hier was de keuze redelijk eenvoudig. Niet alleen is Richard Van Bergen al meer dan eens bij ons te gast geweest in allerlei formaties en in allerlei begeleidende rollen, maar toen enkele maanden geleden de debuutplaat van zijn nieuwe band uitkwam, waren we meteen danig onder de indruk. Richard heeft zijn deel van de Pech van het Leven al gehad: een uitgebrande studio, en vooral vriend en bandmaat Dick Wagenveld die stierf terwijl ze aan het spelen waren… je moet al heel erg immuun zijn om daarvan niet kierewiet te worden. Richard zette de ellende echter om in een rauwe, zompige set songs, die van zodanig diep uitgeschreeuwd worden, dat je er onmogelijk onberoerd bij kunt blijven. Tel daarbij het ontzettend gevarieerde gitaarspel van Richard op én de deskundigheid van drummer Jody Van Ooijen -hij was hier tien jaar geleden ook al met The Strikes- en bassist.
Tiny Legs Tim - 12:00-12:45
If the artist name Tiny Legs Tim reminds you of the bluesmen of old, then you’re immediately on the right track. Tiny Legs Tim (Tim De Graeve, °1978) is nicely on his way to become one of the Belgian blues musicians of the moment. The rambling old guitar of his grandfather, a bottleneck, a footstomp and the necessary scratches in body and soul ensure a personal style and endurance. After 6 years of inactivity because of illness, the blues he discovered as a child is more alive than ever. The past few years, Tiny Legs Tim travelled with his One Man Blues Band through nearly the entire European continent, played the opening act for Peter Doherty, John Mayall and Ian Siegal, performed at many blues festivals and was invited last year by no-one less than Kurt Overbergh (Ancienne Belgique) to play during STOEMP v/d Chef. Read what Roland van Campenhout has to tell about this young bluesman: “Ever since dah blues crawled out of the southern muddy waters, the men spreading the word had special names. We had a Blind Lemon, a Sleepy John, there was a giant human being called Leadbelly, and many more…. Their 78 rpm disk recordings went all over the globe, influencing popular music and young musicians from London to Singapore, From India to Africa… So now we have from Belgium a young man who names himself Tiny Legs Tim, and just with his six strings and a stomping foottapboard he brings back the ghost and magic from Bukka White and Robert Johnson. Sit back and let the ol’ magic take hold. Those tiny legs sure take a lot o’ burning blues around!”