Taking The Long Road

I have been notably remiss in posting on here of late. No, scratch that – I’ve been bloody useless. In my defence, it’s been a time of turmoil, change and soul-searching, but it’s no excuse, not really. I am a creator, and I need to share that creativity with the wider world, whether the reaction be good, bad, or indifferent. I suppose it’s driven by that old philosophical adage:  “If a tree falls in a forest, and no one is around to hear it, does it make a sound?“

Anyway, I may revisit some of the things I’ve been up to in the intervening couple of years, but for now, I want to share this with you.

In recent months, I’ve been doing some co-writing with an old friend, Steve Bonham. (Our connection goes back so far we’re into counting half-decades!) We last wrote a song together when we were about fifteen, so, as Steve likes to joke, we’re not what you’d call a prolific writing partnership.

Nevertheless, when he approached me to become a part of The Long Road, we began exchanging ideas.

We recorded over thirty songs at Woodworm Studios in Oxfordshire with Stuart Wood for a huge Anglo-Americana project, about half a dozen of which are co-writes between me and Steve. Woodworm is a studio steeped in history. Once owned by Dave Pegg, it has heard the talents of Fairport Convention and Jethro Tull among others, and the ghosts of their songs move through the walls.

One of the songs we wrote was ‘The Girl with the Rattlesnake Heart’ and it’s a song that had some interesting beginnings. I wrote the music back in 2010, in the shadow of the Stevie Ray Vaughn statue in Austin, Texas. I’d been watching a squirrel playing in the trees and had the fanciful notion that it was a blues aficionado, influenced by SRV. I named him Nutz McGee.

Me and SRV…..

It was a frivolous lyric, and needless to say, it didn’t make it onto my ‘Blue Odyssey’ album of the same year. But I always kept coming back to the music, knowing I could use it some day.

When Steve approached me to see if I had any ideas this one came to mind. “I’ve got a song about a blues squirrel,” I said, straight-faced. When he’d stopped laughing, he gave it a listen. He came up with a fabulously evocative lyric that dovetailed perfectly with the mood of the music, and ‘The Girl with the Rattlesnake Heart’ was born.

I remember the recording session for the song. I was like some kind of long-haired Basil Fawlty, running up and down the studio stairs like a lunatic, recording drums, then bass, then guitar, then backing vocals! I like the juxtaposition of the two guitar solos, mine, then John Humphreys slide solo, a nice contrast. The minimalist low bass note on the piano from Chris Lydon harks back to my Blue Odyssey album. When I’d visited Sun Studios in Memphis, I’d learned that Johnny Cash used to do this to add gravitas to a track. I think it sounds great on this.

A couple of weeks ago, the band came out to Andalucia, and we filmed a trilogy of videos for the project. Here is the first of them. ‘The Girl with the Rattlesnake Heart’

We still call it The Squirrel Song. 🙂

Bettye and Shuggie in San Javier

In the stage-side cafe at San Javier Jazz festival

Hot on the heels of the Cazorla Blues Festival comes the San Javier Jazz festival. The name is somewhat redundant, as Uriah Heep are appearing this year, and if they’re jazz then I’m a teapot. but, be that as it may, at least the festival, strung out over an entire month and situated in a town only a couple of hours away from where we live, affords the possibility of seeing world-class talent under the Spanish sun.

The night we picked featured Bettye LaVette, a singer who’d only come to my attention via Jools Holland’s BBC2 show ‘Later’, and who’d greatly impressed. As Bettye herself said on the night, “It’s only taken me 50 years to become an overnight success..” Approaching 70, she’s had a long, hard career in the music business, starting with her debut single in 1962: “My man- he’s a lovin’ man”. Raised in Detroit, she flirted with fame over the years. A brief stint with James Brown, a stage musical with Cab Calloway…but for the most part Bettye languished in obscurity.

It was the interest of Gilles Petard, a French soul music collector, that began to shine a light on Bettye, after he sought out and acquired the rights to her unreleased Child of the Seventies masters, having been played the mono recordings by Bettye herself. It was finally released, decades after its creation, as Souvenirs in 2000.

But it was LaVette’s appearance at the Kennedy Centre Honors, where The Who were honorees, that really gave Bettye’s career the necessary momentum. An amazing performance of Love reign o’er me had the Kennedy centre audience, most unaware of Lavette at that point, on their feet, and Townsend and Daltrey moved to tears. Just check it out:

It highlighted her ability to turn a song inside out, de-construct it, and make it her own. This led to The British Rock Songbook, a wonderful collection of British rock classics that Bettye performs as if her life depends on it.

Bettye at San Javier Jazz – Photo by Rafe Marquez

Seeing her live was a privilege. Her band, tight and funky, and able to draw subtle nuances out of every arrangement were a perfect complement to her rich raw vocals. Opening with Lennon and McCartney’s ‘The Word‘ she simply stole the show.  ‘Love reign o’er me’ sent shivers down my spine, and when she announced a Neil Young cover “Heart of Gold” with the tongue-in cheek statement “but I sing it better”, you damn well believed her before she’d even sang a note.

I met and chatted with her bassist, James Simonson after the show, a real nice guy, who was still buzzing about meeting Marcus Miller at the North Sea Jazz fest just days ago.  We got into ‘bassist’ talk for a while.  I asked him to pass on my compliments to Bettye and the band, and I bought The British Rock Songbook that very night.  Bettye’s message, throughout her long career is an unspoken, yet potent one: If you’re good, believe in it, and don’t give up. ever. As she approaches 70, Bettye LaVette’s got a helluva lot more to give.

Shuggie Otis

Shuggie Otis. I knew the name, but was fairly unacquainted with his music. However, a quick rummage through my record collection revealed that I owned “Strawberry letter 23” by The Brothers Johnson on their greatest hits CD. This was a Shuggie-penned tune, and this recording of it gave Shuggie his big break. Just listening to it, you can hear how he was to become a huge influence on the likes of Prince and Lenny Kravitz. It’s a great piece of pop-funk-psychedelia. I awaited his performance with interest.  With a 9 piece band, the arrangements were superb, and the musicianship absolutely top-notch. Shuggie’s fluid guitar playing, especially when he played the blues was also pretty impressive. But…..

….the guy was on another planet. I don’t know what he’d been smoking, but the end result was that it seemed like he just couldn’t be bothered to reach the notes when he was singing (or finish sentences when he was talking) in contrast to Bettye, who, although not speaking Spanish spoke slowly and clearly to the audience. Shuggie was a disaster. I was willing him to sing properly. Every now and again he would seem to remember where he was and a couple of lines would suddenly leap out clear and powerful, then just lapse away again.  When they played ‘Wings of Love’, a fine song with a fantastic arrangement, beautifully performed, his voice just destroyed it. He also looked like he couldn’t get away fast enough, and his son and brother who were band members sort of hung around on stage to try and get everybody to ask for an encore, which he eventually gave.  These people paid to see you man. You are an undeniable talent. Stay focused, and make the effort.

Kev Moore

A Tale of Two Festivals – Part Four: The Cazorla Blues Festival

Lock & Load: Cooling off: Spanish-Style!

By the Friday, the whole town was in on the Party, beneath the unforgiving sun, the blues fans boogied, shimmied, got drunk, and availed themselves of the spring water that flowed freely all over town, almost as freely as the beer!  The variety of acts was great, even though I has some misgivings about the inclusion on the Thursday night of Fito and Fitipaldis (or Emerson and the Fitipaldis as I couldn’t resist christening them) -who were plainly a Spanish ‘chart’ band, and an undeniably big draw. A commercial decision? Certainly. The right decision? I’m not so sure.

The Blues is Thirsty work….

The Friday night saw the likes of Little Mike and the Tornadoes – a fast talking New Yorker who delivered a powerful set…then we were assailed by Janiva Magness, a woman who, if the bio in the programme was to be believed, had suffered immeasurable hardships in her life. Her considered portrait alongside however, did not prepare us for the behemoth of bad taste that tottered onto the stage in impossibly high heels. The woman can sing, and sing well….but I can’t help feeling she needs direction, both in choice of material, and dress sense. But that’s just my opinion. I’d so wanted to see UK blues stalwarts Nine below Zero, but their inexplicable time slot of 3.30am meant that realistically wasn’t going to happen.

Suzzete Moncrief

Saturday afternoon saw Suzzete Moncrief accompanied by guitarist Lito Fernandez on the stage in the old square. She did a great job, and had the sweltering crowd with her, particularly on ‘Dock of the Bay’ where the whole crowd attempted to whistle the solo!

Chino & The Big Bet

Next up, Chino and the Big Bet, one of my favourites of the festival. A resonator guitar, half a drumset and an upright bass, this Spanish trio from Barcelona proved to be excellent exponents of Blues and Swing, having come 2nd in the European Blues Challenge. Although the seemed a little ill-at-ease out of the confines of their more normal club-sized gigs, they nevertheless delivered an endearing set with great style and feel.

Los Coronas

The Saturday night of course, we headed to the Plaza del Toros for George Thorogood, but we were blown away by the band that took to the stage before him. the band of the festival for me. Los Coronas were simply magnificent. Imagine being thrown into a dream where you were at a rock concert that kept morphing between surf city, a Quentin Tarantino movie, and a Spaghetti Western, and you might get an idea what Los Coronas are all about. Their set, devoid of all vocals save “Poison Ivy” sung by their drummer, who does the whole set standing up (some of the most magnificent snare work I’ve ever witnessed, by the way) – is a journey, cinematic in scope, on the wings of blistering, glorious twanging guitars, channeling Duane Eddie, The Surfaris, and Ennio Morricone.  Many years ago, in a covers band, we would play ‘Wipe Out’ as a filler, a throwaway number….when these guys exploded into it about three-quarters of the way through their set, it was pure joy. If anyone had told me I could not just sit through a 90-minute instrumental set, but wildly enjoy it, I would have said they were crazy. All wearing White cowboy hats and shades, and possessed of a trumpeter extraordinaire, surrealistically hailing from the Ukraine, they exuded style, cool, top-drawer musicianship and self-deprecating wit – they were one of the best live acts I have ever seen.

George Thorogood

It is to George Thorogood’s credit that he was able to follow that, it would have killed most bands. his open statement “Somebody’s got to go to jail for rock’n’roll, it might as well be me!” set the tone for the evening, and he  and the tornadoes delivered a blistering set that had to of course, feature his take on John Lee Hooker’s “One Bourbon, One Scotch and One Beer”, and the classic “Bad to the Bone”, where he wrings ever last drop of blues out of the slide that attacks his hollowbody guitar.

Cazorla Blues – you have some festival here. Love the town, love the people love the vibe, but keep your eyes on what’s real. Don’t let pop insinuate itself. Keep this festival BLUES.

Kev Moore

A Tale of Two Festivals – Part Three: Cazorla Blues Festival continued….

“..It fell down…so I built another!”

The festival not yet upon us, we continued to explore the town of Cazorla and surrounding areas, discovering the amazing story of the ‘open air’ church that would form the back drop for one of the blues stages. The history of the creation of this building reads like a Monty Python sketch, the architect designing and building it adjacent to the mountain, and on top of a river. The mountain promptly collapsed upon it, the church in turn collapsed into the river, then the rains came, the river had nowhere to go because of the rocks and church debris blocking its course, so it promptly rose up and washed everything about twenty kilometers away. This sort of thing happened often. Personally I think God was trying to tell them something, but well, the Catholics were clearly a stubborn bunch. It stands today as I believe, the only church with a river actually running underneath it!

The River even God couldn’t stop…

It was fascinating to walk beneath the town square and the church, and wonder at the sheer bloody-mindedness that religious zealotry can provoke. There was supposed to be a statue of the virgin Mary in the alcove on the outer wall, but she didn’t make it. Probably too busy manifesting herself at the chapel high up on the ridge in order to put another collection-gathering scheme in operation. Pity, as I would have loved to see her presiding over the blues gig wearing a set of ray-bans and cradling a resonator guitar….

Finally make it to the outskirts of La Iruela-but a long way to go yet!

We finally made it to the Chapel high on the ridge via a punishing and circuitous route that also took in La Iruela and the amazing Castle there. Yes, they’ve got castles and watchtowers coming out of their ears round here, it’s almost reminiscent of that beacon-lighting scene in Lord of the Rings.

The Magnificent Castle at La Iruela

After finding the Castle, we trekked ever higher, and began to double back along the high ridge towards the chapel that we had seen from Cazorla. It turned out, like so many places around here, to have a) a wonderful supply of natural springwater and b) an unlikely legend. call me a cynic, but I’m constantly amazed at the amount of places that magically seem to be the site of some kind of ‘vision’, which then gives rise to some celebration, money, etc, etc…SO lucky, don’t you think?  Judging by the amount of places I’ve visited where Mary’s supposed have rocked up, she was certainly a busy woman, probably on a European tour. Apparently, in this instance, a bolt of lighting struck a rock, cracked it in two, and a shepherd fell down and whacked his head on it. When he came to, the Virgin was looking down on him…mmm…that’s not a miracle mate, that’s concussion.

View from the Chapel on the ridge.

Anyway, we made our way downhill, unconverted, in readiness for the following day, when Walking Stick Man would be the first act to take the stage at one in the afternoon. Unless we had a visit from the Virgin Mary of course.

Watching Walking Stick Man

Chilling in the Old Square

there was a fabulous atmosphere in the square that first afternoon as the sun beat down, the beer and tinto flowed, and everybody immersed themselves in the acts performing. Later that evening, the action transferred to two other stages, including the old bullring where Brazilian blues harp player and singer Flavio Guimaeres and his band with an English Guitarist really impressed.

Plaza del Toros

The old bull rings of Spain make superb concert venues, turning ‘Death in the Afternoon’ into ‘Music in the Evening’, and cultural differences aside, it’s a fair exchange.

The People gather…..

The shows are relentless at these Spanish festivals, particularly this one, acts begin on the first of three stages at on in the afternoon, and wind up finishing in the Bull Ring around five in the morning! The first day was amazing, and there was so much more to see….but that’s in Part 4!

Kev Moore

A Tale of Two Festivals – Part Two: The Cazorla Blues Festival

I’d only been home from Italy for a day when me and my partner Miki set off on our Motorhome, The Boomobile, inland towards the Spanish town of Cazorla. This beautiful place has hosted a Blues festival now for nigh on twenty years, and it’s somewhere we’ve been meaning to visit for a while, but my own gigs have often clashed, so this was the first opportunity we’d had.

Next to the Cafe by the Dam on the first day-Great Ice-Cream!

We broke the four hour journey by overnighting by an embalse, or dam, built in the 80’s, resulting in a beautiful vivid green lake in the middle of a hot dry wilderness. A cafe by the shore was a welcome sight, serving ice-cream and beer to die for, and we undertook a huge walk around the dam and surrounding landscapes to assuage our guilt at pigging out!

On top of the Dam.Our walk took us down and across the bridge you see in the background.

The following day we hit the road again, making a stop in a village called Tiscar, which means ‘Mountain Pass’ in the Berber language,  a reminder, like so many in Andalucia, of the Arabic influence of the past.  The winding road, before disappearing into a tunnel in the rock face, passes the Sanctuario de Tiscar, an old monastery, and opposite was a large parking area where we pulled over.

Las Cuevas de Aguas

A steep path and stairway cut through the rock led down to the Cueva de Aguas, an unbelievably beautiful place, where a thirty foot waterfall thundered through the natural caverns into an oasis below. It reminded me of my time on the island of Dominica in the rainforest there. To get to the falls, one had to bend almost double and pass through a fifty foot tunnel to reach it, making it all the more enchanting for that.

Tight Fit: Negotiating the tunnel to the waterfall.

Not content with the punishing journey to and from the caves, we noticed an imposing stone watchtower atop the rocky cliffs that loomed over the Sanctuario. It had been the last Arabian refuge in the area until the Christians took it form the Muslims in the 14th Century. As we climbed the cliffs a little, I noticed, seemingly clinging to the sheer rockface hundreds of feet above, a metal grille staircase disappearing up into the distance. Further exploration revealed an entrance, unmanned, over grown, but passable, that led us to the base of this amazing metal construction.

Stairway to Heaven – The Sanctuario in the distance.

Without a thought, we made our way upwards, on and on, higher and higher until we were within the foundations of the ruined tower itself, with no safety net, but, oh, what a VIEW! Stunning scenery stretching for miles, the rooftop of the monastery far below, the motorhome a speck in the distance. A tough climb, especially on the see-through grill of the staircase, but worth the effort.

The Watchtower at Tiscar

In Cazorla-La Yedra Castle in the background.

We eventually arrived in Cazorla a full three days before the festival was due to start quite deliberately, as we wanted to explore it as fully as possible before everybody descended on the town later in the week. It turned out to be a great idea, because Cazorla had so much to see and do, and the surrounding countryside was magnificent for exploring and long (and punishing!) walks.

A brief rest before exploring the Castle!

The castle of La Yedra watching over the town was a great visit, and a legend connected with it told to us by the guide has given me a new Witch Cross song, so you’ll have to wait until our third album to hear what it is!

We parked up on the big open space where the Market is usually held at the bottom of the town, and one could follow the river up to the old Plaza through a beautiful riverside walk, the myriad waterfalls and overhanging trees providing a welcome respite from the unrelenting Spanish sun. However, pretty much everywhere we walked was uphill!

Riverside walk through Cazorla town

We had a couple of days before the music started, so we planned a couple of hikes….more about them in Part Three!

Kev Moore

Bringing a little bit of Ireland home….

Often, on our trips around the globe, I’ll by a few CD’s, and it’s highly likely that these will reflect, either the destination, or the experiences of the trip, and our visit to Dublin was no exception. I got hold of four CD’s that I’ve been after for a while, and it seemed exactly the place to get them. They’re all Irish, but they have another thread of commonality that connects them. I saw them all play live in my hometown of Derby as a teenager.  First up, a brace of albums by the unique HORSLIPS: “The Tain”, and “The Book of Invasions”.

Both drawing heavily on Irish folklore for their subject matter, they paint wonderful images with the widest range of Celtic and rock instrumentation. they were electrifying live, and the standout track for me is ‘Dearg Doom’ from ‘The Tain.” – a brilliant mix of rock guitar, fiddle and flute. I remember leaping about like a loon to this played live at Cleopatra’s club, ably aided by some Marston’s Pedigree bitter.

No Dublin trip would be complete without some THIN LIZZY, and I’d been after the Special edition of ‘Vagabonds of the Western World’ for some time. The casual Lizzy fan, who perhaps only knows them from the beginnings of the four piece line-up on ‘Nightlife’, (On which tour I saw them at Derby College) is missing out on an absolute gem. Eric Bell’s guitar work is simply stunning on here. ‘The Hero and the Madman’ is a tour de force, surprisingly led by a young Kid Jensen ( A DJ , for all you young folks!)narrating the story, and the solo is fabulous. Bell is an original, a sound all of his own, his solo on ‘The Rocker’, proving it’s no fluke. The appearance of a young Gary Moore on a blistering ‘Little Darling’ almost seems like an embarrassment of riches. In this early incarnation, Lynott’s bass playing is funkier, and the bassline to ‘I’m Gonna creep up on you’ is one of his best. This is a great 2 disc set, highly recommended.

Finally, the late great RORY GALLAGHER. I met Rory towards the end of his life at that most ‘muso’ of places – the cafe at Scotch Corner on the A1, a more down-to -earth individual you couldn’t wish to meet. his music was raw, honest and powerful, and the set I saw him play many years before at the Kings Hall in Derby was just awesome. In Dublin, I bought ‘Big Guns – The very best of Rory Gallagher’ . It’s a rip-roaring ride through his career, and whilst its a great listen, it leaves you wanting more, and from my perspective, makes me want to explore his band ‘Taste’ once more.

So next time you get annoyed by the asinine syrup of  Westlife, Boyzone, and all rest of that shite that Louis Walsh has foisted on the world, remember, Ireland was the birthplace of some of the greatest rock music we’ve had the privilege to enjoy.

Kev Moore

Sunday in El Paniajo

The little dude’s not part of the band….

We thought we’d get out and about this weekend, and a took a trip over the Sierra de los Filabres mountains and down into the valley of a little village called El Marchal, enticed by the promise of Blues, and Chicken Satay!  “El Paniajo” is a lovely little bar by the riverbed in El Marchal, run by Jess and Anne-Marie, and a venue I played solo some years back. I’d visited again recently when showing my Dad around the area, and asked Jess to put me on her mailing list, thus discovering Sunday afternoon’s music and food combo.

The view from the mountain road back down to the coast..

It’s a lovely drive over the mountain, past the village of Bedar, the roadster loving the serpentine road that negotiates both the Southern and northern slopes, dropping down into the village on the other side. It was a sunny afternoon, and the band ( Colores Libres) set up on the huge patio in front of the bar, proceeding to play a number of blues and 60’s classics to a creditable standard. The female vocalist had a voice almost reminiscent of Cleo Lane, quite a low register for a girl. To be honest, if you have a competent band playing, sunshine, a few drinks and a nice meal, is there really any better way to spend an afternoon?

“I believe I can flyyyyyyy….”

La Cosa Nostra

These kind of gigs locally always bring out great characters, it’s one thing I love about the area!

As a musician, its always interesting to note the moments when a band moves from autopilot to flashes of inspiration. The unlikely addition of a passing friend guesting on blues harp for a couple of numbers pushed the guitarist into a series of back and forth exchanges that lifted the band, fleetingly, to another level. Great to see.

Cheers!

The food, was gorgeous! Chicken in a satay sauce served with wild rice, spinach and beautifully roasted red peppers, ensured we’ll be back again soon. If you’re down this way, check out El Paniajo, it’s worth the trip.

Kev Moore

Muddy Waters

Muddy Waters – Kev Moore & Miki de Goodaboom ©2013

I’d like to present today the first in an artistic collaborative series by myself, and my partner, the French artist, Miki. My drawing style is very different from hers, and in a bid to create something a little bit unusual, I suggested that I should draw the basic character, and then turn the project over to her for completion, and indeed,  the end result of this first effort looks exactly like a cross between her style and mine! We’re really happy with it, and we will be creating some more over the coming months. I picked Muddy Waters for a number of reasons, one being that Pinetop Perkins played in his band for a while – the late blues piano legend whom I met in Austin on my BLUE ODYSSEY trip a couple of years back, and also did an art work of (see link) ….and Muddy…well, I always loved the story of his first visit to England in 1958, when all these English high-brow blues purists accustomed to the more sedate acoustic blues Big Bill Broonzy and the like were shaken to the core by his loud electric guitar and stompin’ beat! Muddy’s ‘shock and awe’. I like that.  So here he is, out by Lake Michigan, in a snow storm over Chicago ( which it was when we arrived there after exploring the Mississippi delta in 2010) Muddy, like so many other bluesmen, made that journey to the windy city, so it seemed a fitting backdrop. Hope you like it! If you like it a lot, then you can buy it in a variety of formats by clicking on the widget below.

Kev Moore

Happy Talk

A rather unusual string I seem to have inadvertently added to my bow is that of appearing on a talk circuit.  I’ve recently begun giving a series of impromptu lectures about my career in general, and some parts of it specifically, the latest being the story of my album ‘Blue Odyssey’ – the songs and the journey that inspired it.  I usually perform one of the songs from it acoustically too. It’s quite fun to be able to waffle on to a group of (usually ladies) who are interested in the life of a musician, and who usually know very little about it beforehand. It’s also become a surprising and successful outlet for selling my albums. It’s something I’m looking to do more of in the future, and to that end, I’m collating my diaries from my time in America with a view to eventually producing a companion book. Certainly, in this day and age, diversity is the key to gaining, and keeping, an audience.  Long may it continue! Today, I’ve just returned form giving one such talk to the Tuesday Ladies Club (TLC-geddit?!) on nearby Mojacar Playa, a lovely experience beneath blue skies and sunshine by the sea…nice work if you can get it!

You can order the album online at SHOPKEV

Kev Moore

Off topic: Don’t give up the day job….Artwork as a sideline to Music.

You may or may not know, but in addition to my career as a musician, I like to create artworks when the mood takes me. Recent weeks have seen a nice return for this activity, as I’ve sold a variety of items featuring my art in one way or another. I thought it might be a good time to share them.

A few weeks ago I sold some greetings cards featuring ‘Souperman’, and ‘Dali the Dog’, and more recently, a couple of T-shirts featuring my ‘Like Father like Son‘ artwork. Then yesterday, a framed print of Pinetop Perkins, (see above) the legendary bluesman I had the pleasure to meet in Austin, Texas in 2010, when at the grand old age of 96, he proceeded to get up on stage and blow me away.

I was inspired to write the song, ’96 on Sixth’ about the experience and it featured on my album ‘Blue Odyssey’ from the same year. You can hear it by clicking on the widget below:

It’s always fun to create art, and always a big incentive to do more when people appreciate and buy it! -and with that in mind, click on the Fine Art America logo below if you are interested in any of my artworks

Kev Moore