KING KING on July 17th 2010

Walking Talking Blues ….
Blues Devil without a skirt

Fresh from successful festival appearances and rave reviews, King King was another major coup for Andy and Ripley Blues …. But first up we had a three piece from Barnsley - Also Jack. From the badlands of Barnsley to a rural Ripley retreat where dog dirt was missing from the pavements, the lead singer seemed a little bemused …. as if this 3 piece of lead guitar / vocals, bass 'n' drums had been transported by Tardis.

The guitarist may have been slightly nervous as he told the audience they'd not played together for eight months - "We may be a bit rusty". They launched into their 2 self-penned openers "Hangman" and "Love Is Blind" - evidence of rust was present, but it sounded good. Donning a head support for his harmonica they played "To Be So Mean Mean" next and then a temporary switch of guitars for "In Your Time". Apparently this was the first guitar his folks had bought him at the age of 15 - they would be proud to know their lad had learned how to play well as he gave us a nice bit of slide.

Promising us a ballad they launched into "Stand Still" … ballad like hell! Wah wah effects to the fore …. next up a sweet version of "Hoochie Coochie Man" and sticking in the key of A "Room Service". Solid bass, wailing guitar and pounding drums - just how Ripley like it. The guitarist must have been wondering how it was going - "Support band at a Blues gig - are we any good?" The answer is Yes!

"Show Me Round", "Pushover" and "Jump The Gun" with a bit more slide brought their set to a conclusion. Also Jack had won the audience over - the rust had been removed. An enjoyable set, well received, loud applause.

King King is the brainchild of guitarist Alan Nimmo and bassist Lindsay Coulson - they took their name from an album in the early Nineties by the Red Devils featuring the late Leslie Butler on vocals / harp …. so I was a bit disappointed when they took to the stage and Alan Nimmo wasn't wearing his kilt.

My Dad won the MM fighting in the Black Watch as part of the 51st Highland Division during WWII and "Devils in Skirts" was the nickname given by the Germans to those men of the 51st. I reckon he should always wear the kilt …. The kilt is hard, the blues King King play is hard as well.

"Wake Up Every Morning, Same Thing On My Mind" spoke of a possible sleep disorder, but no …. they were lines from their first song - was it Magic Sam's "Same Old Blues"?

"Good Time Charlie" was next - originally recorded by Bobby "Blue" Bland, the playboy with a whole lotta soul who was inducted into the Rock 'n' Roll Hall of Fame in 1992. The KK version had some nice interplay between guitar and organist / keyboards Bennett Holland and as the night went on, that interplay became a feature of the set.

Before the next song, Alan Nimmo explained that the band had been in the studio recording their album and having been couped up there for some time it would be nice to just come and play the blues ….

…. "Have You Ever Loved a Woman So Much, It's a Shame and a Sin" …. those lyrics certainly spoke of the blues - as did the sublime guitar / organ solos. One of the many highlights of the set - Sad joy indeed!

The up-tempo "Gravy Train was next and then a real beauty of a song which features on their EP - "Heart Without A Soul".

Piercing, wailing guitar of the kind which touches the soul and induces that sweet pain of never wanting it to stop. What ever the reasons are, this man has the blues and he shows that in his playing. For this gig Wayne Proctor, on his birthday, stood in on drums and combined beautifully with bass to provide that solid platform for the guitar and organ interplay.

"Six In The Morning" again from their EP …. led us into John Hiatt's "Feels Like Rain" which proved to be another highlight from the set. Lovely harmony vocals …. Sshhh, Shhhh, Baby Can You Feel it, Gonna Let Your Love Rain Over Me, Feels Like Rain ….

After a spot of audience participation, like a King Eagle this eagle King, arm lifted high, swooped to play note on note …. before moving into the "Freebird" solo. As Whispering Bob would say "Mmm Nice"!

The next song afforded the band the opportunity to be introduced to the Ripley audience and the closer was a slow mellow piece. By this time I was in such a state of excitement that my writing had become illegible!

The guitar got quieter and quieter, hush, hush …. He seemed to be playing without amplification, almost playing without sound. The entire audience was focussed on the fretboard - then crescendo, then quiet again ….

An amazing musical experience!

…. "Love Leave Me Alone, Just Go On Home" …. And that's what we did eventually, but first we had an encore of "Mr Highwayman" without the band going the usual routine of leaving and returning to the stage - makes a refreshing change.

Just a fabulous set and another one of those where the Ripley audience can say I was there when King, King played - because I think they are going to be huge. I just sat there, I didn't want to leave.

PURE CLASS!

Review by Barry Travena & videos by Dennis McPeake

THE MODS on July 17th 2010

Cosmic butterflies ….

The Mods come out to groove about

The Mods last played Ripley Saturday 11th July 2009 …. it was good to hear them again as Ripley welcomed them back with open arms.

On the way in Tobacco Road flitted over the ether …. waiting for them to come on we had Born To Be Wild, Allright Now and Living in the Past coming over the speakers …. It spoke of a good evening to come.

Wearing his "To Hell and Back" T-shirt, Johnny Warman took to the stage with the rest of The Mods and set the tone with their starter "Start Me Up". We then had a string of hot tunes - "Keep On Running", "You Really Got Me", "Tobacco Road" ….

This last tune, originally written by John D Loudermilk, first saw release under his own name back in 1960. A year later came Johnny Duncan with his version and then in June of 1964 The Nashville Teens hit the charts with their version …. That's the one I bought.

…. Picking up his guitar, JW gave us a strummed intro to The Stones' "The Last Time" and then into what JW told us was his first single at the age of 13 …. A stomping version of Dave Clark's "Glad All Over". Magnificent!

16 January 1964, Dave Clark knocked The Beatles from the top of the charts where they had spent 5 weeks with I Want To Hold Your Hand". It also makes me 3 years older than Johnny Warman - oh dear!

"Let your hair down for those of you with hair" was JW's intro to a funky version of "Lazy Sunday". With a cry of "Do you like The Who?" they launched into "The Seeker" …. and then a dread version of "5446 Was My Number". Waiting for the raffle, even the famous Ripley Chicken's giblets were skanking to the sound of this Toots and The Maytals' classic.

The pace did not let up!

"Can you smell testosterone?" was the intro to "I'm A Man" - shimmering organ and wah-wah sounds slid into a great solo by the look-a-like Michael Winner on drums. The rest of the band moved to one side as keyboards joined drums to produce a highlight of the evening.

The Doors' "Hello I Love You" was next and then introduced as "One for the Girls" a haunting piano intro led us into The Who's "Behind Blue Eyes" …. which segued into another Doors' Classic "Light My Fire".

The first set ended with JW arms outstretched …. Here Endeth The First Lesson Mods Stylee!

JW had promised us a more Rockers-style set in the second half …. And that's what we got. "Hold Your Head Up" had a great organ solo building to a floor-shaking climax.

Four classics followed …. Deep Purple's "Hush" had more bass and organ …. Syd Barrett's "See Emily Play" from the days when Floyd were Floyd …. "Sha La La La Lee" by The Small Faces …. The Kinks' "Lola" ….

JW then picked up his guitar to guide us into a "Lament for the England Football Team" moving cleverly into "Sunny Afternoon". "Waterloo Sunset" and "Pretty Flamingo" …. And then via a reggae vibe into The Equals' "Baby Come Back" followed by "Itchycoo Park".

The band had survived a spot of good-natured heckling and some deliberate out of tune singing from the Ripley crowd …. The band left the stage, eventually returning to give a magnificent Who based encore ….

…. "Subsititute", "My Generation" "Won't Get Fooled Again" ….

JW took out his harp for the last song "Magic Bus" …. Turning the sound down and then building it up again, running on the spot, beating the tambourine on his chest.

ACE SET!
Thanks to Mick and Russ for top sound quality.

Next day, Johnny Warman and guitarist John Kennard gave us something less hectic in a two-man gig in Ripley's Blues Room. The sound was stripped down to just vocals and guitars …. It was rough, raw and superb. Johnny Warman has come a long way since the days of "Cosmic Butterflies".

For me The Blues Room is the best venue in the area … and that is saying something. It deserves to be sold out every time.

If I end up in a Nursing Home, The Mods can come and play for us at Christmas - If I don't make it that far, they can play at my funeral!

Review by Barry Travena

LIGHTNIN' WILLIE AND THE POORBOYS on June 5th 2010

Not so much Interstate 61 as Ripley A61 ….
Another Grand Concert!

The band had some car troubles on the way over …. so there was a small delay whilst soundchecks were going ahead. I stood at the entrance listening and even that sounded good, so I knew it was going to be another top Ripley night.

It gave me the opportunity to watch the "meeters and greeters" on the door ply their trade. It shows once again how integral they are to the Ripley success story. "Thou shall not enter without a raffle ticket" - they should open a Sales Management Consultancy! They add a family feeling to the Ripley experience, right from the very first moment people come through the door - nice one Gents!

Also, something I'd not noticed before …. On the left hand side at the entrance is a small picture frame containing a flyer for "A Grand Concert, Friday April 26th 1895" at Ripley Town Hall. It just shows that Ripley Blues and all the bands appearing are upholding a fine tradition.

The opening act was Leicester-based three piece "The 44s" - they opened with a Muddy Waters song "Take Sick and Die One of These Days" before moving into a version of RL Burnside's "Skinny Woman". I'd not heard of RL Burnside before, but I made sure I found out something about his music as soon as I got home. A great riff in a Bo Diddley style with an ace guitar solo.

The next one was equally funky with some nice vocal counterpoint with the bass player …. And then, changing guitars, another Burnside tune which had a strong Link Wray feel to it.

"I'm Done With You Baby" had a riff like Church bells tolling and "Man of Constant Sorrow" led into The 44's version of The Stones "Hip Shake" (orig. Slim Harpo) from Exile on Main Street. Their closer was an adult version of "Stack-O-Lee"

I enjoyed the set, the music had a rough raw feel to it - Mississippi Blues right on the edge and The 44's capture that feeling well.

The set was a mix of wah wah, reverb and feedback with the occasional duck-walk thrown in for good measure. Guitar, bass, drums - Great fun!

Lightnin' Willie and The Poor Boys are a class act, appearing at Ripley as part of their No Black No White Just Blues Tour and they carried on right from where their soundcheck finished.

Opener was "Hey Babe", then a great riff and guitar break on "Baby What Can I Do" leading into a sublime version of Pete Green's "I Loved Another Woman". A favourite musician of LW and it showed …. sweet guitar and harp solos.

By song number seven, LW had decided it was time to get down to business. He took off his coat! Referring to Ripley Blues as Andy's Juke Joint, he even got Andy to take a bow - albeit reluctantly. The audience hollered, the band set up a mellow groove ….

LW then brought out his 1930s El Trovador Resonator - some guitar! Shown to very good effect on the self-penned "Sweet Marie". Sweet slide with a touch of dirt and funk as LW sang about a woman who didn't answer her phone!

We then were treated by turns to some different styles of the blues …. a nice strolling blues followed by a sweet slow blues about being in love "Still In Love With You".

"Eyes In The Back Of My Head" was next -

…. Your sweet lips taste like cigarette
and you don't even smoke ….

and for the first time I saw his Red Shoes.

Lightnin' Willie ain't Moira Shearer, but I was struck at the colour co-ordination between the shoes, the inside of his hat and the bass. It showed a sensitive side to the man which corroborates this statement from his website "I'm truly blessed and grateful for the little things that have come my way".

After a number which had guitar and harp wailing in unison like a police siren, we had the highlight of the set - and that's saying something!

Lights were dimmed as LW and the harp-man Giles King came down into the audience to play some Delta Porch Blues. Sitting just in front of me, guitar and harp supported each other on two songs …. LW vocals sliding across the wailing, shimmering harp sounds.

Strongly redolent of Sonny Terry and Brownie McGhee, time was suspended …. "Close Enough To Touch".

Returning to the stage to loud applause, LW went back to the Resonator for the penultimate song "Sad and Blue" and then we were at what we thought was going to be the closer "Lookin' Out My Window".

These words reminded me of Donovan's "Season of the Witch" which has the lyric "When I look Out My Window, What Do You Think I See?"

Wild applause and stomping of feet ensured that the band just had to return for an encore - and what an encore.

LW showed once again that he has a sensitive side, making mention of the oil leak off the Gulf of Mexico and needing to give the gift of the earth to the children of the future.

Yet again I was reminded of Donovan's album "A Gift From a Flower to a Garden" …. Maybe LW & The Poor Boys could do an album of Donovan tunes? Maybe not!

The encore went straight into "I Couldn't Do Nothing" with the audience singing the refrain and finally closing with another refrain "Bye Bye Baby Bye Bye" …. which faded gently into whispers and then one final round of appreciative applause.

Lightning' Willie's image might be more of the hell-raising kind, but I suspect he's mellowed. He has another side which he certainly allows to come out in the music which is all the better for that.

The band's performance was both polished and stirring and LW has a nice line of patter.

I enjoyed it thoroughly - return soon please!

Review by Barry Travena

BUDDY WHITTINGTON BAND on May 22nd 2010

Deaf Leopard Blues ….
and some note-bending bliss

Lucy Zirins and The Buddy Whittington Band

Preparation for this Saturday night gig was listening to some Fifties stuff …. Ballad of a Juvenile Delinquent by Phil Johns and the Lonely Ones which comes from a great album "Teenage Riot!"

I had that old Brylcreem feeling, the only thing missing was the hair. Later in the evening I found another of my faculties failing as I move from Juvenile to Senile.

Lucy Zirins took to the stage dressed in black. Hailing from Lancashire, she has the cheeky chappie approach of George Formby, with the exception that she plays sweet guitar. After some Yorkshire / Lancashire banter, the most telling thing was that from the moment she started to play and sing, she had the attention of the Ripley audience. They fell silent.

Her first two songs were self-arrangements - "Poor Wayfaring Stranger" and then a jazz inflected version of "Summertime". Both attracted warm applause before she moved to a song from her CD "Another Woman On His Mind" which sounded as though it was sung from the heart.

A spot of audience participation followed with Willie Dixon's "Little Red Rooster" …. and the Ripley dogs began to bark and the hounds began to howl. Watch out strange kind people Ripley-ites

I may be wrong here, but I thought Lucy said her guitar was named Tallelulah - if so, it seems strangely at odds and too lady-like for the "dirty" sound her Resonator produces. She played some beautiful slide on "Love Lost Blues" another track from the CD.

Showing where Lucy's musical roots lie, she then gave us two songs by Muddy Waters and Son House. It was the Son House song, which I wrote down as "Deaf Leopard Blues", that showed me my hearing is going!

Turns out to have been "Death Letter Blues" instead - I thought at the time that the concept of a deaf leopard was a strange one. It's on her CD, along with the closer "Guilty".

An ace set from a newcomer to Ripley, but I have a feeling that after such a strong set she will be invited back before too long. Nice one Lucy!

The tension began to build during the interval as we waited patiently for the Buddy Whittington Band to take to the stage.

It was worth it - they opened with "Black Cat Bone" and I got that surge of excitement that only a loud electric guitar gives!
After Walter Wolfman Washington's "Tailspin", Buddy gave a name-check to Lucy Zirins which the audience warmly applauded. One of the top bluesmen of the day acknowledging your own performance must have been a real buzz for Lucy.

Gary Nicholson's "Jacksboro' Highway" was next …. a tune from the John Mayall repertoire when Buddy played with him. Guitar trading licks with the organ was a feature of a number of the songs during the set and added a dimension of funk to the wailing guitar notes which drip from Buddy's 1963 Stratocaster.

Another Mayall track followed - "Ain't No Brakeman On This Train" -
There ain't no way
To turn around
From all the pain
There ain't no brakeman on this train
…. That unfortunately is The Blues - listen to what Son House says!

B B King's "You Upsets Me Baby" was fabulous - a strolling blues, just great.

Keyboard intro led us into a nice, funky instrumental and then "Too Much Of A Good Thing Can't Be Good For Me" was dedicated to all those who have that certain something that they need to control!

"Big Legged Woman" was followed by a super version of Leon Russell's "Help Me Through The Day" - dedicated to Gary and Alison in the audience, it was a nice slow blues.

With "Second Banana", I got the impression that Buddy plays this tune as some kind of catharsis for the time he spent in the Bluesbreakers. Who knows, maybe it's time to move away from those songs and go with more of his own compositions.

He can certainly play the blues as evidenced on Del McClinton's "Standing On Shaky Ground" - piercing guitar, dense organ riffs.

Next was another instrumental medley which sounded to me like Jimmy McCracklin's "The Walk". I don't know if it was, but it seemed to end cleverly with a bit of Stars and Stripes / Rule Britannia.

The next track was a stand-out for me "The Minor Blues" - played with feeling, notes bending blissfully, fingers playing effortlessly.

The next tune "Grits Ain't Groceries" had a glorious organ riff before moving to each of the musicians for a solo …. And then a Freddie King number was the closer - I didn't catch the title.

Continuous applause drew the band back for a double encore - ZZ Top's "Sure Got Cold After The Rain Fell" and another of Del McClinton's "Every Time I Roll The Dice". Played beautifully!

What did I learn from the evening?

Apart from not being able to hear properly, the Buddy Whittington Band are tight - Pete Stroud on bass, a funky Roger Cotton on keyboards and Darby Todd on drums.

Buddy Whittington has paid his dues - the past is behind him, the future is there for him to continue going from strength to strength as a mainline act in his own right!

Another top Ripley night!

Review by Barry Travena

AYNSLEY LISTER on March 20th 2010

"Take Me to a Place I know
Where I Can Close My Eyes …."

I like to get here early if I can, walk my greyhounds round the village first and attune myself to the vibes. As I was doing this on Saturday, I could almost see the music waves drifting over the village from the sound-check. It added a counterpoint to the general quiet of the village and I got the impression this gig was going to be a blast.

I didn't realise just how good though!

Lights went down and The Dan Burnett Band took to the stage …. "My Heart is Pounding Through My Chest" was the opening lyric and that describes the effect the music had on me during the evening.

They were showcasing music from their 7 track EP and although I didn't catch the titles, the music was working its magic …. ace wailing guitar solos, loping bass, ultra-funky Hammond breaks. As I was sat on my chair, the vibrations from the bass were working their way up my leg and making my buttocks tremble! Not an unpleasant feeling I might add.

The Ripley audience knows good music and that's what The Dan Burnett Band offered. I realised I could have listened to it all night long …. it was a killer set.

One by one the musicians left the stage to leave Dan Burnett on his own …. nice touch. I didn't buy the EP because I'm a cheapskate, but it's virtually impossible for music which sounds so good live to sound the same played at home. I certainly look forward to being able to see this band again though.

I really thought that Aynsley Lister would have quite a task following that …. But from the moment he came on stage, he had the audience in the palm of his hand.

The music was unbelievably exciting!

He first appeared at Ripley back in June 2000 and I imagine Aynsley has matured in the intervening ten years, but he must surely be very close to the top of his game right now. I get the feeling that he has distilled the essence of those 10 years into his present style.
Reading Aynsley's own website, he got his first guitar on his 8th birthday. It was a ¾ sized nylon strung and Aynsley started working out songs from his Dad's record collection …. Making do until his first electric guitar at the age of ten.

That doesn't surprise me at all because Aynsley has total stage presence, whilst making the guitar look easy to play. The guitar is merely an extension of his own body and it can only come from having been introduced to the guitar at such an early age. This is different to my own experience, growing up as I did on "Bert Weedon's Play in a Day Guide to Modern Guitar Playing" - near half a century later I'm no further on!

I'd not heard Aynsley play before and I wasn't familiar with his music …. But since I've been coming to Ripley, this was the best gig I've seen there.

The first handful of songs came courtesy of his nice red Stratocaster …. he made it speak! The songs switched between the old and the new …. Early Morning Dew from his latest album "Equilibrium", Soundman from the album released in 2001 "Everything I Need" …. The playing was outer-space and the singing impassioned and full of soul.

The next few songs saw variations in guitar and pace …. An acoustic blues from Equilibrium entitled "Sugar Low", more blistering guitar work in the style of Paul Kossoff before moving to the song which has this wonderful lyric

….. "Take Me to a Place I know
Where I Can Close My Eyes …."

Then a Freddie King instrumental style …. And we were back to the red Strat.

Two stand-out tracks were Hurricane and Big Sleep both from "Equilibrium" …. Floating guitar intro deceptively leading into raw power chords, searing guitar solos, throbbing bass, funky keyboards all supported by a very capable drummer.

The audience went ape at the end and the band had to return for "Crosstown Traffic" as an encore.

I was left totally exhausted at the end of the gig - it had been something special even for Ripley. Aynsley's guitar playing puts him at or close to the top of the pile and his current band played out of their skin. Please believe me, anyone who turns up the chance to see this band play is missing something special.

It transported me back to a time in the 1960s, when I would listen to music and just close my eyes … wanting to go "higher and higher". You don't need any stimulants to get high on this music though, but I was back to a familiar place.

Yet again thanks to Ripley for getting hold of such a top-class performer and for putting on an evening of music which would be hard to beat anywhere in the world. This gig will be stored in the memory banks until I leave "this mortal coil".

Review by Barry Travena

CAJUN ROOSTERS on February 14th 2010

Finger Lickin' Good ….
A Little Lovin' Gets You Through the Night

Another top idea from Ripley Blues - a Valentine's Sunday Special including roast chicken meal early doors …. Then the plates were cleared away and we were straight into the band's opener - an instrumental, before moving on to a boogie ….

…. Then an accordion intro led us into a waltz and the strangest thing was happening - people were dancing with each other! Men leading women, arms outstretched …. Yes, I've seen it before with Fred Astaire and Ginger Rogers …. but never in a Blues Club! This was Old School and it was just great to see.

The next tune "Dance Da La Miserer" featured a fiddle solo and then a Zydeco / Creole song where the singer had the washboard hung round his neck. We even had a blues number with fiddle, guitar and accordion solos.

More accordion …. And then appropriately on Valentines Day a song for lovers taken from their first album "Little Lovin'" …. A Little Lovin' Gets You Through the Night.

Next two songs were an absolute blast …. ultra funky, with a different sounding accordion. Their version of "Baby Please Don't Go" was unbelievable - best version I've ever heard - from their first album "Crank It Up" …. and I just might have to get that.

Closer for the first half was a piece of Cajun Rock n Roll …. Guitar, harp, guitar, harp - good way to finish. I didn't realise there were so many variations of Louisiana dance music, but when the vocal first comes in over the accordion, that is pure excitement. Mix in a few drinks and it is heady stuff - no wonder Louisiana men have a reputation for fighting and lovin'!

Second set opened with a just a trio playing "French Blues" - the bass player had moved to guitar and the guitarist was in the audience taking pictures. The drummer was added for the second tune and then all five were involved with the next song …. no bass but an exciting vocal.

The band then reverted to normal line-up and guess what? …. the audience were dancing again and the music kept on playing.

Cajun R n R with drummer on vocals "Sugar Bee" and still on vocals a zydeco waltz from the film "The Big Easy" …. "You Used To Call Me".

The excitement was building with a couple of twin fiddle Louisiana / Cajun tunes …. one of them "Lafayette" …. Before moving on to "Don't Mess With My Tutu".

…. Next up, a very dirty groove …. Accordion sounding to my ears a little like the wonderful reggae artist Augustus Pablo on melodica …. Add in some wah wah on guitar and you have one of the best songs of the evening …. "I've Got a Fever Burning in my Soul - need a Double Shot"!

Building to a climax we next had some Louisiana accordion on "Let the Good Times Roll" …. Hey Boppa Rebop! with a neat rock guitar solo. Then some pulsating accordion on a Zydeco tune "Green Grass" …. And a great version of the Chuck Berry tune "Promised Land" …. Guitar and accordion solos - just fabulous!

Loud applause and some stomping led to the encore …. Van Morrison's "Precious Time" …. Guitar, violin, accordion solos …. leading to an acapella ending ….

Precious Time Is Slippin' Away ….
True, but no better way to spend a Sunday night

Thanks to Cajun Roosters and to Ripley once again

Review by Barry Travena

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