Pittsburgh: Candye Kane photos at Club Cafe' by C.R. Bennett

The Blues Foundation has nominated Candye Kane for the

2010 Blues Music Award in three categories:

~The B.B. King Entertainer of the Year

~Contemporary Blues Album of the Year: Superhero

~Contemporary Blues Female Artist of the Year

Pittsburgh, PA October 2009

photo: C.R. Bennett Copyright 2009

Candye's son, Evan Caleb

Pittsburgh, PA October 2009

photo: C.R. Bennett Copyright 2009

Paul Loranger

Pittsburgh, PA October 2009

photo: C.R. Bennett Copyright 2009

Laura Chavez

Pittsburgh, PA October 2009

photo: C.R. Bennett Copyright 2009

Candye singing her blues her way.

Pittsburgh, PA October 2009

photo: C.R. Bennett Copyright 2009

Here is the interview with Candye Kane

Pittsburgh: Tinsley Ellis Interview by Monica Yasher

“As far as popular culture, I’m on the outside looking in. As an artist, I’m on the outside looking out.“

It was just announced last week that Tinsley Ellis was nominated for a Blues Handy award for the Blues Rock Album of the Year! This would come as no surprise if you had a chance to speak with Tinsley. Tinsley enjoys the songwriting process and used all of his own songwriting efforts on his new release, "Speak No Evil". He has also been performing the songs live across the United States and claims that the live shows will sound as good as the record. I saw Tinsley, and he is right on target with that statement!

When I saw Tinsley at Moondogs in Pittsburgh in October, the room was full. The crowd was patiently waiting for Tinsley to attack the songs via his guitar and give them that southern feeling only Tinsley can offer. And, he gave the crowd just what they were looking for. All the while Tinsley is performing with his guitar, he is also feeling the words he has written. And, the crowd responded to Tinsley and his music with a very warm reception. Tinsley is a great performer and I’m sure the crowd will be back around the next time he comes to town. Until then, let’s see what Tinsley had to say.

Tinsley: Hello.

Monica: Hello Tinsley! This is Monica Yasher, how are you!

T: Hey Monica, how are you?

M: I’m all right! Where are you today?

T: I’m in Atlanta where I live.

M: Still home? I checked some things out and you have an aggressive tour schedule.

T: Yes. And I have interviews in prep for the tour.

M: I’m looking forward to speaking with you Tinsley. Maybe we should get started. You seem so busy! Let’s talk about your new CD. How is this the same or different than your past works?

T: It’s a continuation of what we have been doing on studio albums since the year 2000 in terms of writing almost all of the material, or as much of it as I can. I wrote this whole album, which is not the case on the last one, where I wrote most of it-but not all of it. We’ve found that it works best for us to do original music that is a statement of where we are at musically and where I’m at lyrically.

So it’s going to be…we are very excited about the music in, "Speak No Evil". I don’t think the long time fans of the band will be surprised at all in terms of the style of guitar driven blues rock as we have always done. But, hopefully we will add some new fans to our crowd.

M: So when you so where you are lyrically, I take it you have all new writing and not things sitting around for years that you felt would meet the needs of the CD’s theme today? So, where are you when you say, where I am lyrically? What do you mean..in regard to life...or in songwriting...what does that mean?

T: Yes. I think my songwriting is getting better all time. I’ve had my own recording studio for six years now and that’s really helped me out in songwriting and I’ve been able to really spend a lot of time on this particular album. We were able to choose from over fifty songs to whittle it down to twelve so that is something kind of new. Never have we had that much choice.

M: Do you record eighteen or twenty and then work down toward your twelve?

T: On this particular album. No. We whittled it down from the fifty to the twelve based on the demos. But, I have gone in, in the past and recorded eighteen songs and then picked the best twelve out of those.

M: In regard to the writing, do you write everyday? Do you do practice songs? Is that your songwriting technique or is every song a viable completed song?

T:
T: I learned years ago that you can set time aside for songwriting and it just doesn’t work well. Songs come when they come. I could be driving down the road, and I have a telephone with a recorder in it, so...I find myself singing to my telephone. And, that replaces the hand held cassette I used for that purpose. Songs come when they come. I record them at my studio when I’m off-touring in Atlanta.

M: Acoustically?

T: No I play all the instruments.

M: Do you? Wow! So, you hear it all when it comes to you?

T: Yeah. I can hear it. And of course I’ll bring in the band to do the demos. They have their expertise and ideas on their individual instruments. I present the ideas to them as a band demo.

M; You haven’t been out on the road yet. But, when people hear you with this tour will they say, and I’m going to show my age here, he sounds just like his album!

T: Yeah. I think in terms of the new songs on, "Speak No Evil", it will sound just like the record. And, we will be doing a lot of songs on the previous CD, "Moment of Truth". We will be doing songs off of the Live album that we did in 2005 where we invited people to go to www.TinsleyEllis.com and tell us what songs they wanted to be on the LIVE album. That was kinda cool to involve the fans like that.

M: OK. What is your favorite part of being an artist? The writing, the touring, the recording? What’s your favorite part of it all?



T: Obviously, performing always comes first. A close second is the songwriting process where it’s just me and a song and I haven’t played it for anyone yet. It’s just a wonderful creative period. Because once you start playing it for people, everyone has ideas, which is good and necessary. But, I just love it when it’s just me and the song and I’m falling in love with it.

M: You fall in love with your songs? Wow.

T: Well..yeah..you fall in love with them and then people criticize them when you are working on them.

M: I have to agree with that. I wrote a song just for me once and someone else made a comment to change it all around to make it more commercial. That was one song that I just couldn’t do it, because I wrote it for me. It’s mine.

T: A lot of opinion out there. That’s fine too. But, when it’s me and the song in the studio it’s a fine time. Nobody has any say about it. But, my main love is to perform.

M: I can see that from your schedule, Tinsley, you are a busy man.

T: Very busy. That’s cool. It’s a good time when an album is new and you go out there and play the songs and have them appreciated, hopefully. A lot of good stuff happens when the album is new. A lot of stuff we are waiting for.

M: Let’s talk about some career things. You are a fabulous guitarist. If you could meet up with another guitarist in a room, who would you want that to be?

T: Eric Clapton.

M: Eric Clapton is your man, huh? Why? What do you want to learn from him?

T: I just love his music and if I had to narrow it down to one, he is it. All the different journeys he has taken in different styles of music with electric and acoustic, blues, psychedelic rock.

M: Did you meet him yet?

T: I almost met him a couple of times.

M: What about B.B. King? I see that B.B. impacted you. You have his guitar string still.

T: I have met him many times. I’ve opened for him and he is always so nice to me.

M: Is he?

T: Really a good guy. A great guy!

M: As much as B.B. impacted you, how do you feel you impact your audience? Or, do you have a story for me that you have done the same for someone?

T: Well it was a real honor when I met this kid. He was thirteen years old and he said he wanted to learn one of my songs and his parents brought him to my show. Backstage he seemed so interested in learning the chords to this song. I showed him some of the things to the tune. He then put out an album and recorded my song on it and that was nice because it was a different generation doing one of my songs. Then we watched the album sell one hundred thousand. Then we watched the album go gold. Then we watched the album go almost double platinum. That person was Jonny Lang.

M: I knew you were going to say his name once you started.

T: Naturally that was a big financial blessing for me and my family. But, to have someone from a different generation, someone who is a child pretty much thirteen- fourteen years old when he recorded it...he did a beautiful job on it. He used to be our opening act and now we are his opening act. He plays that song every time. I asked his manager does he play that song often or only when we open for him. His manager told me he plays that song at every concert. What an honor. What an honor.

M: I’m happy for you. You obviously impacted him and brought him along.

T: The trick is doing it a second time. I want to make sure it’s not a fluke. I pitched songs to the biggies, Eric Clapton, Bonnie Raitt, ZZ Top and many others. Haven’t had anyone bite just yet. The Jonny Lang thing come out of left field. Nobody anticipated that his "Lie to Me" album was going to sale like it did. You can try and try and try and I zig and they zag or it can just come together. The main thing is that we have songs out there that people can hear because Alligator Records sales an album everywhere they can sale a record so chances are that someone can hear it. That would be nice.

M: Do you think that by Jonny doing your song, in your mind, validated you a bit more as a songwriter?

T: It definitely got my attention. Right after that I got the recording equipment, and had it in my basement for a while and then I moved it into an office space so that I could do it anytime I wanted to, including four in the morning if need be. Yes, it got my attention and was a wake up call in many ways. I’ve had some other songs covered by people I really respect like Melvin Taylor and Michael Burkes. And the title song to my new album, "Speak No Evil", I wrote that one for Guitar Shorty. But, Alligator had me record it instead, so that was kind of cool. I wrote it for somebody else and low and behold I ended up doing it myself at the urging of Alligator Records and it ended up being the title song. Isn’t that sneaky?

M: No, that’s awesome! I’ve seen some songwriters perform the songs they wrote for major artists. There is something to be said for that songwriter performing their song. That songwriter will perform it totally different because it’s from their heart and it’s from the place where they were when they wrote it. It’s always so touching. It’s usually exceptional.

T: I know what you mean and I love it when songwriters become front people like Carole King. Carole King wrote all those hits and I loved her versions as much as the originals.

M: I rocked my kids to sleep with that song, 'You’ve Got a Friend'. It’s amazing how songs touch people. The power of five words or a few more words in a sentence can be very humbling. You have that wonderful guitar playing behind it. Let’s talk about that. Did you have your family’s backing in all of this?

T: No, they weren’t into it at ALL. They counseled against it at every opportunity.

But, when I got in the New York Times in the 1980’s all of a sudden it was a little better. That’s what it takes.

M: When you think about it when we grew up, music wasn’t thought to be a great career choice. You worked somewhere until you retired. Today music has so many more choices. So much you can do with it. I’m so glad you stuck with it!

T: At this juncture what else could I do? So…it’s too late to stop. I wonder if it’s easier or harder to do music.

M: What do you mean? Someone breaking in or where you are now?

T: Just doing a living at it. I wonder if it’s easier or harder because I’ve done it for so long. If somebody was starting now, it could be harder now than before. I’m grandfathered in. It’s tough. People are expecting free music on the internet and for those of us writing songs to make a living, it makes it tough.

M: Yeah it is.

T: But at the same token, there are more avenues for music, so maybe it evens out.

M: Somebody told me once that music will save the world.

T: Well...Maybe…(He laughs.)

M: I don’t know. (He laughs.)

T: That would set my expectations too high. I’m about entertaining people. Saving the world I will leave that to political and religious leaders. I would hope it would have done that already. We must be in a holding pattern. (We laugh.) I guess we have time.

M: Were you self taught or did you take lessons?

T: Self taught.

M: What would you recommend for the future artists of tomorrow?

T: Write your own material. Find your own voice. Learn to read music is well and fine. But, you have to put a feeling in people’s heart and I don’t think they teach you that at music school. I think they teach the mechanics of music. The nice mixture of the tune. I just think that writing songs, that helped me a lot. I always urge young bands to write their own material and find their own voice.

M: What do you think makes a good song?

T: A good song is something that you whistle at the water cooler at work. You just find yourself singing along to a song. It doesn’t have to be complicated. I like music that is simple and soulful. That puts me at 180 degrees from what most people like today. But, oh well. My favorite band is Booker T and the MG’s. They are a simple soulful band. I don’t like complicated music. As far as popular culture, I’m on the outside looking in. As an artist, I’m on the outside looking out.

M: That’s a line, I’m telling you. Anything you want to tell me?

T: Just thank you so much for your interest in the blues.

M: I wouldn’t be musically where I am without blues, and blues open mics, and my blues musician friends. I try to write country music. But, I wouldn’t be anywhere without the blues.

T: It’s the root of it all, isn’t it?

M: It is. You can sing the blues however you want. It’s how you are feeling and I would never sing the same song the same way twice.

T: You are right. The operative word is feeling. Feeling is what it’s all about.

M: I love the blues. And I look forward to actually meeting you.

T: See you tomorrow Monica.

M: Bye Tinsley.

T: Bye Monica.



You may also enjoy reading Tinsley's CD review by J. Blake: Tinsley Review

Thank you for reading American Blues News!

Copyright © 2009 Copyright Monica L. Yasher. All Rights Reserved.
Photograph Copyright © 2009 Maureen Ceidro. All Rights Reserved.

Guest writer: Teeny Tucker

I have a motto, “Measure a woman’s success by

how much it takes to discourage her."

Teeny Tucker was born into a blues family. She is the daughter of Tommy Tucker. Though born into the blues family, her musical roots were first planted by singing in the church choir. It was in the church that she learned to style and interpret her music.

In November 1996, Teeny caught the attention of a German Blues promoter who was affiliated with her father. It was through this association that started Teeny performing at many of the major Blues Festivals in the US, Sweden, France, Switzerland, Belgium, and Italy.

Some of Teeny's accomplishments are:

She has been chosen for the cover of the July/August 2004 edition of King Biscuit Time Magazine accompanied by a featured story of her musical journey.

Teeny wrote the lyrics for 8 of the 11 songs on her second CD, titled “First Class Woman.”

Teeny is being played in heavy rotation on XM Satellite, Music Choice and Blues radio stations all over the country.

She has placed as a top-ten finalist in the International Songwriting Competition.

Teeny is a two-time, top-three finalist in the International Blues Challenge which is held annually in Memphis, Tennessee.

In 2008, Teeny Tucker was invited to appear on the MAIN STAGE of the Monterey Blues Festival, Poconos Blues Festival, Ozarks Blues Festival, Nothin’ But The Blues Festival, and Buddy Guy’s Legends.

She was nominated for the “2008 Best Female Blues Artist” of the year by BluesBlast.

Teeny’s newest CD “The Two Big M’s” was ranked in the 15 spot on the Bob Davis list of 2008 top 25 releases.

“Two Big M’s” was ranked for 22 weeks on the International Blues Roots Chart, and was nominated for best self-produced CD by the Blues Foundation of Memphis Tennessee.

Lastly, Teeny has been invited to appear on the same bill with great blues artists such as: BB King, KoKo Taylor, Etta James, Buddy Guy, The Holmes Brothers, Calvin Owens, Robert Cray, Keb Mo, Michael Burkes, Kenny Neal, Johnny Mars, Bobby Rush, John Mayall, Kid Ramos, Robben Ford, Joe Bonamassa, Homemade Jamz, Eden Brent, Laurrie Bell, Kilborn Alley, Henry Butler, Janiva Magness, and many others.

So let's see what Teeny wants to tell us today:

MY: Teeny, you are the daughter of Tommy Tucker, a renowned blues-singer-pianist-composer, who wrote and first recorded “High Heel Sneakers,” a pop-classic that’s been performed by Elvis, the Beatles, the Stones, and even Zsa Zsa Gabor, to name some of the over-200-plus-versions produced. Do you think the blues are different today from when your father played the blues? If so, in what way?

TT: This is a question that can be answered in many ways if you look at the true origins of the Blues. Not only has Blues changed but most everything has changed. I think Blues still tells a story about many life experiences including relationships to tragic events in one’s life. It reaches more than one culture now and has definitely survived over the years.

Blues have always been a major influence in music history. It is the foundation of other genres of music; gospel, Jazz, and Rock & Roll. Blues is so diverse it comes in many forms. There’s delta blues, country blues, tradition blues, contemporary blues and even rock blues. Pick the one you like and support it. Thank God for the 160 plus Blues societies throughout the US, Canada and Europe who have dedicated themselves to keeping the blues alive.

MY: How difficult was it to follow in your father’s footsteps?

TT: I really didn’t fully realize how talented and musically rooted my father was until I became an adult. As my career began to take shape and form, and, as I learned more about his musical journey, I found myself walking the same paths. In the music business, you have to have love for what you are called to do and pursue it with passion. I liken it to the man who is called to preach the gospel … it’s his calling.

MY: If you weren’t singing the blues what would you be doing?

TT: I believe I was born to sing. But I love singing the Blues. If someone gave me something other than the blues to sing I could sing it, because by nature that’s what I do, but I’m a true blues girl with a mix of soul and something else. It’s like all the leftover meat that makes for a good pot of stew. If I wasn’t a singer, I thought about being a race car driver or a film writer. I’m not sure how those fit together, but knowing me, I’d make it work!

Teeny in Memphis singing with “The Mayor of Beale Street.”

MY: What is your strongest point as an artist? What would you like to improve upon?

TT: My strongest point as an artist is that I am my own biggest critic. In my heart, mind and soul I’m always one step away from mastering what I’ve been called to do. If I forget this self-imposed critical analysis, I may no longer strive for my extreme high standards of excellence.

MY: I see that you are a two time top three finalist in the IBC’s. What advice do you have for future IBC participants?

TT: The IBC is a positive platform for artists who want to get themselves out there and share their music. It was a positive platform for me. You win some and you lose some. Frankly, most of my “so-called” losses have led to my biggest wins. There is always someone at the IBC looking and listening. Audiences are excited by the emotion which is created when they feel your true love for the Blues. It is through that process that doors open. I have a motto “Measure a woman’s success by how much it takes to discourage her”. Stay true to yourself, share your experiences through song, and thank God for every opportunity. Be professional and never ever give up.

MY: You are a gifted songwriter. How do you go about getting inspired to write music?

TT: In the past three (3) years my songwriting skills has grown tremendously. I may attribute that to experiencing some tough moments in my life. Since I am not a musician, it is hard to get someone to understand how you want a song to go or how much the lyrics means to you. I have my own built in rhythm and feeling when I try to demonstrate it to a musician. For some strange phenomenon, Bob Hughes gets me. We have spent time in a practice room or the recording studio and worked out what I think is my best original material ever. He and I keep going back listening and shopping input so we can make sure that the material conveys our passionate pursuit of excellence. We want to be sure that we release our very best. If I could use what I call the preacher analysis, “If you didn’t save a soul then the sermon needs work.”

Lately, my inspiration to write has come from real life experience. My mother passed away this year. I’ve made it through 30 years of marriage; my only son finally decided he wanted to live a productive life. My discography has just begun. My journey in this life began in 1958. I was born illegitimate to a white mother whose family totally disowned her for having bi-racial children and falling in love with someone other than whom they thought idea. I was born having a black father that dedicated his life to the Blues and already had a wife and four children before I came into the world. But through it all, I can still reflect on the strokes of good fortune. My oldest daughter graduated college and works as a successful news reporter for a major TV network and my baby girl will graduate college next summer starting her career in forensics. I have a goddaughter that I’m rising, who was left with me for only a weekend 11 years ago. And I have three healthy and highly intelligent grand children. I can get a lot of song material out of that, you think?



My new CD, mostly originals, will share some of my experiences and that of people in my life. I hope everyone will get it. It may relate to some of your own journeys.

I’ve been sharing a lot of my life experiences on my space at www.teenytucker.com. Check them out and please stay in touch with me.

MY: You are predominantly a vocalist. Do you play any instruments?

TT: I’ve tried piano & harp, but still have not conquered either. I do work on my harp more. But I’m not quite there. Of course, when I come out everyone may be surprised. Many people don’t know, but I can do instrumental sounds with my voice.

MY: It seems to me that the female of the species always has more to do at home than the male of the species. How do you manage a touring career with home life?

TT: In life “dues & bills” have to be paid. I’ve paid on both. Mr. Lee Durley, with the Monterey Bay Blues Festival, wrote a song for me called, “Make Room for Teeny”, which is going to be on my new CD. My husband can do it all and he does. My life is mine now. I raised 3 kids, worked a government job for 26 years while touring for the past 17 years. It’s only just beginning so “Make Room for Teeny”. Bring it on!

MY: What has been your greatest moment?

TT: Last year I did a show in my hometown at the Music Summer Series Concert. A little girl, who was around nine to ten years old, stood in the crowd next to the stage mesmerized. At the end of the show, she came up to me and said I want to be a Blues singer just like you. It was at that moment I knew blues will live forever. Someone took a picture of the little girl standing there. You can check it out at www.teenytucker.com pictures folder.

Other greatest moments are the many blues artists I meet and talk to who have braved the music journey in spite of the many obstacles they’ve had to overcome. I remember sharing the bill with Ko Ko Taylor in 2006 in Dayton, Ohio. She had recently recovered from surgery, but mustered up all the energy she could find, hit that stage and gave a performance of a life-time. She invited me on stage with her at the end and I could feel her love for her fans, the passion for the blues while her weakened body held on to every precious moment. When we were done, she whispered some advise that I will carry in my music briefcase for the rest of my life. RIP: Ko Ko Taylor.



You may also enjoy reading about this female blues artist: Shemekia Copeland

Thank you for reading American Blues News!

Teeny Tucker © Robert Hughes Photography
Copyright © 2009 Copyright Monica L. Yasher. All Rights Reserved.
Copyright © 2009 Copyright Teeny Tucker. All Rights Reserved.

Pittsburgh: Roger Earl Interview by Monica L. Yasher

"This is the world’s musical cauldron, if you will. Everywhere in the world, American music is appreciated and I feel honored to be part of it."

When I got the word that I had an opportunity to interview Foghat, I was excited and not quite sure what to expect. I mean, my brother brought me up on bands like Foghat, Boston, and Styx. Now I was going to get to meet up with a rocker! Oh my! I was wondering are all those stories true? Are these guys really that wild?

As I met up with Roger Earl, he was practicing a bit on his drums. The guitarist, Bryan Bassett, is from Pittsburgh. As Maureen and I sat in the trailer with Roger, Roger was warming up a bit on his drums. The atmosphere was very family like. Bryan’s family was excited he was in town and wanted to hang out with him. I thought it was best that we leave, since it seemed that the band, along with the families, had some catching up to do. Bryan’s Grandma was there! I didn’t want to intrude. So, I got up and was going to give everyone time to do what they had to do and thought it best that I leave. Roger was such a gentlemen and suggested we stick around a bit and chat. I met Roger’s wife and the members of the band. I have to say, they are truly a great bunch of people and I am glad that I met them all.

Maureen and I left shortly after our meeting in order to take photos of the show. I do truly mean this when I say this band has the best stage performance I have seen all year. Charlie Huhn really uses the entire stage in his performance, and his vocals were right on. For those of you studying stage performance, in order to up your game, he would be a great person to take in and get ideas from. He wasn’t afraid to give of himself to touch the crowd and he would stand close to the end of the stage so the crowd could actually touch his guitar, and they did! Great rhythm section. Great slide guitar. Great show!



I met up with Roger a few weeks later and we talked about a lot of things. Roger is a lot of fun to talk to. He has a great sense of humor. When I listened back to the interview, I realized that we laughed more than I put in here. I had fun that day. Thanks Roger! Let me share it with you.

Roger: Hi!

Monica: Hi Roger! How are you doing?

Roger: I’m doing good. How are you doing Monica?

Monica: It’s a beautiful day in Pittsburgh. How about where you are at?

Roger: It’s overcast, cloudy, cool but it’s a beautiful day.

Monica: Those are good fishing days aren’t they?

Roger: That’s right. You got it. I just took the grandkids out the other day and we didn’t catch anything. But, it was still a beautiful day. I need to practice fishing a little bit more. (He laughs.)

Monica: I don’t think you can practice that. The only thing that makes me practice is patience!

Roger: I just like doing it. It is relaxing. Any day out on the water is a good day.

Monica: That’s true, Roger. Are you ready to get started?

Roger: Sure.

Monica: OK. Foghat has been around for a good many years. What do you attribute to the success of the band?

Roger: Free shows are always good. (We laughed.) I think the band always played well. We always put playing and performing at the top of the list. I think a number of bands don’t do that. We rehearse at the beginning of the year in January, February and March and decide what songs we will be playing. I think music is the prime reason I’m doing this. It wasn’t to earn a living or to make money, especially not to make money anyway.

I had a love for music. I happen to play in a band that has written a number of great rock and roll songs over the years. Now I have Craig Macgregor, he is a tremendous bass player and he lights up the stage as soon as he gets up there. Bryan Bassett, I think, is one of the best slide elite guitar players around. Charlie Huhn has some huge shoes to fill. In a lot of ways Charlie is very similar to lonesome Dave. He loves to play, no matter if he is tired or what he has going on. He is always up for playing. We are all there for the right reasons. We are there because we have a passion for music and playing. I have never lost that. I think if I didn’t enjoy playing, I wouldn’t do it. I don’t know what else I would do. I think that is why the band is doing as well as it has. Because when we play, we’re up there and meaning it.

You know, it is a privilege to get up there and do this stuff. There are people who can’t play. There are musicians that haven’t made it with career success, and there are some terrific players out there that don’t have the kind of success that we have. So it’s a privilege and we try not to let the folks down. We give it up at every show, every time we get up there. I think that is why the band has had such longevity. We lost our lead guitar player and we lost our lead singer. Dave was a huge print on this band. He was the driving musical force in the arrangements and playing. It wasn’t always reflected in the writing department. Everybody in the band co wrote just about all of the songs. The band plays so well. I think last year was probably the best year the band has had in probably over thirty years.

Monica: Why drums? You talk about passion and obviously your major role is playing the drums? Why did you choose drums to begin with?

Roger: I initially chose the piano. My father played piano and my older brother Colin, who is four years older than me, was playing piano. So when I was eight, nine, ten, eleven, around that time, I really started to get interested in music and buying records and listening to stuff. Piano was my first choice.

I went to see Jerry Lee Lewis in 1960. I already had all of his records up to that point. I was a big early Elvis fan and Little Richard especially had a great band. I went to see Jerry Lee Lewis and I think it was then that I didn’t want to play piano and decided drums would be the instrument that was louder than the piano. Naturally I aspired to it. I was about twelve or thirteen when I started taking drum lessons. My father encouraged me. He found my drum teacher. What was his name? Chris….Hayes….That’s it! Funny how I remember these things.

Monica: Wow!



Roger: Yeah how about it!? He was a jazz, big band drummer. I think he got me going on the right track. I didn’t get my first drum set until I was about fifteen. You go up and down with the playing. I probably practice now more than I ever did. I really enjoy playing. I happen to play in a great band with great players and terrific people. We are friends outside. I like what I do. Banging drums.

Monica: I know when I met you in Pittsburgh, there you were banging drums as we first talked.

Roger: I like my drums.


Monica: Cool. I went out there and looked around and I probably don’t have to tell you about your numerous mentions in TV, movies and such. Just curious, have you guys gotten a cameo yet in some of these things? I haven’t seen you out there yet.

Roger: No. Not yet.

Monica: We have to work on that for you!

Roger: That would be fine too if someone wanted to use my mug or my limited acting abilities. I would be up for that!

Monica: We’ll see if someone reads this and gets you going!

Roger: Yeah. That would be fun. Not yet though.

Monica: There are several musicians associated with Foghat. How did you keep the Foghat sound with new musicians coming into the band? Did you try to keep Foghat and at the same time let them have a sense of individuality? Or, how did you accomplish the Foghat sound?


Roger: We can get specific. I think I touched on that. Charlie Huhn was a big fan of Lonesome Dave. In fact he met Lonesome Dave back in 1996. We did a show, ironically, for the Kidney Cancer Foundation in Toledo, OH. The band that Charlie was singing in, which was Humble Pie, was at the same show as us. Charlie fit in real well. He has a different timbre to his voice than Dave’s. He has the same rock ‘n roll spirit that shines through everything. He just loves to get up and perform. Charlie in his ways is really quite shy when he’s off stage. It’s difficult. I don’t think I would want to be on the front line singing, playing guitar and talking to so many people all of the time. As I said, Brian also played with Lonesome Dave for a number of years and also played with Rod Price for about 9 months or so. It wasn’t that hard of a fit. As I said, they are all great players. There have been a couple of other players over the years. Like Craig left the band for a while. But, we always had really good players in the band.

Monica: I agree.

Roger: We hope to do this for as long as we can.

Monica: Cool. Would you like to talk about how two Foghats came about?

Roger: I don’t have a problem with that. What happened is, in 1984 we decided to take a break. We were on the road since 1971 and it was time to take a break. I didn’t know it at the time, but David already planned to move back to England. So about six months later, about the middle of 1985 or 1986, Dave moved back to England and I started to play in a band out of Boston called the Jam Band. So, I took about six months off the road. I mowed the lawn, fixed the car and probably drank too much. I need to be doing something. I can’t sit around for too long. A week or two is good. That’s about it. I was playing in this band called the New England Jam Band. I became good friends again with James Montgomery, a great harp player. Frank Sheehan the bass player of Boston. Just a terrific band that got me started playing again. So I put my band together which was ¾ of the previous Foghat, and we called ourselves the Knee Tremblers. We would go out and play Foghat tunes and I owned half the name. So I started to use the name Foghat. Then Dave moved back to the states sometime in 1991, somewhere around there. I was taking a break for a few months and going through a horrible divorce. I don’t think any divorce is good.

Monica: Probably not!

Roger: Then Dave went out on the road. Then I went out on the road about 9 months, 6 months later and then there were two Foghats out there. Fortunately around ‘93 Dave and I talked…the problem is a bunch of lawyers got involved…so it was taken out of our hands. Dave and I buried the hatchet. Probably the last few tours we did together, we were closer than we ever were. Dave and I got along fine anyway. We are two totally different people. I’m probably a bit more outgoing and noisy. Dave, off stage, was quieter and more reserved. I think we always had a mutual respect for each other and liked each other. We always got on well. We eventually got the original band back together and that was fun for a while…and certainly playing with Dave again…I think Rod Price had a hard time touring. He didn’t enjoy being on the road, where Dave and myself loved it. It was our life’s blood. It was sad when Dave passed. He was far too young. (He paused.) Anyway, we had two bands for a while, which was a pretty horrible time for both of us. We got that resolved and got back together and it was fine.

Monica: Not that I want to talk about hard times. Roger, when I was asked which member of Foghat I wanted to interview, I chose you because out there I read you were setting up the band. Reading between the lines I couldn’t imagine how tough it was to reorganize the band this successful and contemplate if you should reorganize. That gets me to my question, Foghat is listed as primarily as a blues band rather than a rock band. How would you say the band truly lived the blues, that makes them a true blues band rather than rock?

Roger: I don’t know if we lived the blues. I don’t know if I can actually answer that question honestly. Let’s say when I first started listening to rock and roll music, I started listening to Little Richard, Chuck Berry, and Jerry Lee Lewis, obviously Elvis Presley. I was a big fan of Johnny Cash. I had all his early Sun records. When I was about sixteen, I was playing for a year or so. During that time, Chuck Barry made some fabulous records back in the late ’50’s early 60’s. I also discovered people like Muddy Waters, John Lee Hooker and Howlin’ Wolfe. That was my introduction to the blues. I wasn’t really sure ½ the time what they were singing about and some of the words I didn’t understand.

But, I still loved the music. It had an honesty about it. A real honesty. It clicked with me like a lot of kids on the other side of the pond. I think that was it. For actually living the blues, I’m not sure I ever lived it. In fact, I went to Clarksdale for the first time last year. Mississippi, which is generally talked about being the home of the blues, the crossroads. That was a lot of fun. I thoroughly enjoyed it. We went to a local juke joint called, Reds, and jammed with some of the players there and a friend of ours, Lefty, plays harp. The following day we got up and went to the club that Morgan Freeman has, Ground Zero. We jammed in there, which was OK. We played a couple of songs and were going to leave the stage. The guitar player said, no no, you have to stay here.

Monica: Everybody had fun.

Roger: Yeah we had a great time. But living the blues…

Monica: You just love PLAYING the blues..

Roger: Yeah. It was something I grew up with and gravitated to. I don’t think I had the blues. Maybe a bit down a time or two. I just love the music, the players. I got to play with a lot of my musical heroes. Listen to bands like Bobby Blue Band sing and Muddy of course. It moves you.

Monica: Listening to you talk about the jam and watching you guys on stage, I don’t get the impression that you are jamming. It looks like you guys are really rehearsed. So, do you guys perform pretty rehearsed or are you letting loose and jamming?

Roger: You have a format to the songs. Most of the time if we have an open time we will play for an hour and a half or two hours. But usually they set time limits at an hour and 15 so you have to keep it within those parameters. Jam. Yeah we jam, Certain songs have a framework and there are certain things you have to play, otherwise you aren’t playing the song as is or was. We change the intro of 'Want to Make Love'. 'Slowride' can get interesting from time to time. '59 Boogie', there is stuff we change. That’s one of the things when you play with a band of musicians when you know each other. We can follow each other. Craig and I especially. I’ll do something and Craig will know it’s coming and vice versa. And, there are other times you are up on stage and can’t hear each other. Then you just press autopilot. You then hope all is going well. We have fun. There’s some stuff where we keep loose.

Monica: Roger I have to tell you that I went to an open mic, and the bass player wants me to learn Slow Ride. I’m thinking I’m not sure how we will pull that off with a bunch of people who don’t play together and just jamming. There’s some pretty good changes in that song. I’ll learn it for him, since someone asked me to learn it.

Roger is laughing. Listen. There is some clicky stuff in there!

Monica: I know. I know.

Roger: The bass solo. Nick Jameson of course was the bass player on that. I’m sort of still tight with him and we have remained good friends over the years. He, of course, was a tremendous musician. A great bass player. Yeah good luck with that!

Monica: Thanks Roger. What’s the best thing about being in the band and what’s the hardest thing about being on the road?

Roger: The best thing is we have a genuine camaraderie with everybody. We are all like brothers, especially myself and Craig. My brothers by different mothers. That is terrific. Foghat was always a band. When the four of us got up to play, it was never about one person, or the lead singer. It is still very much that now. We always rely on each other. You can’t have someone not up to it or not giving it their all or their best shot. If you only have an hour or an hour and a half each night, you have to give it everything you got, otherwise I think you wasted your day. That is the best part, playing with these guys and playing this music. I have a blast.

The hardest thing. Traveling. That’s the hardest part. You have to hurry up and wait. The airlines treat you like second and third class citizens now. They’ll take your money for extra baggage and the guitars won’t make it to the event. They will send them off to somewhere else. There are a couple of airlines that are just absolutely horrendous, and we have had some really tough times. And, there are a couple of airlines that genuinely work hard to pull it together, like Southwest airlines. I really have great luck with them. If they do go amiss, they get it to you right away. I really like the attitude they have. Sometimes the cattle call is a bit difficult.

USAir out of Philadelphia is an absolute horror show. It’s horrific. Always losing your bags. United will charge you fifty or a hundred for extra bags like our guitars and drum equipment and then lose it. I don’t know. That’s the hard part. I think most of the time they try hard. The crews, the pilots are fine. But the baggage handlers…I think they should look into it if they are going to charge you all this money for the service. Having said that, I think it is hard for a lot of traveling bands. The airlines obviously have to make money. But, they should take care of the people and not treat you…they do…they don’t welcome you anymore. You are a dollar bill. That’s the hard part.

Monica: What’s your favorite place to play?

Roger: I have fun just about everywhere. Detroit, New Orleans and the people are great. Midwest like Chicago, we play there two or three times a year usually. Boston.

Monica: What about going back to Europe?

Roger: We did the Swedish rock festival a few years ago and that was fantastic. Other than that, no one is making us offers that we can’t refuse. I would love to go to Europe and the whole band would love to go. But, we get so busy here, especially in the summer. The band isn’t that well known over there. We have a number of fans over there who requested stuff and I did an interview with one of the blues magazines over there. But, it doesn’t seem to work out.

Monica: Is that still home for you or is New York home?

Roger: New York’s home. I’m an American. I just talk funny. (We laughed.) This is home. I wanted to live here ever since I can remember. I even talked about…I was nine or ten years old…I talked about stowing away on a boat. Wouldn’t have been a good idea.

Monica: No it wouldn’t have been.

Roger: I always loved everything American, everything about it. America has given music to the world…the whole world…jazz, blues, big bands, rock n’ roll, rap, country and western. It came from here. This is the world’s musical cauldron, if you will. Everywhere in the world, American music is appreciated and I feel honored to be part of it.

Monica: We’re glad you are here with your music. Thank you.

Roger: I always wanted to be here. We first came here late ‘67, ‘68 with Savoy Brown. Then we started coming here in ‘72 with Foghat. In ‘73 I moved here and applied for my green card, and now this is home. I love it.

Monica: Roger, with so many accomplishments, what advice would you give to upcoming artists?

Roger: I think if you are playing music you have to have a love and a passion for what you do. You don’t do it for the money or possible financial rewards. They are married to the music. If you are going to do it, you just have to give it everything you got. Tomorrow may be too late.

Monica: That’s are great words Roger. Any artists you want to play with but haven’t yet?

Roger: It would be really nice to play with the Stones. But, I hear they have a really great drummer already. (We both laughed.)

Monica: I read where you met up with Willie Dixon. I was wondering how that meeting was?

Roger: Willie was a beautiful man. Musically he was a giant amongst men. He did the arrangements and production on the early chess records for Muddy and Chuck Barry. He co-wrote a lot of those songs. Obviously, he did ‘I Just Want to Make Love to You‘.

I have a story. ‘I Just Want to Make Love to You’ was a hit off of our first album. So Willie is getting all of this money from us. Unlike some bands, that I won’t mention, we would credit the writer. Then we did it on the "Live" album. The first record was ‘72 and ‘77 we re-released it. So Willie is getting all of this money from this band called Foghat. He doesn’t know WHO we are.

We were in Chicago for three nights and the first night he sent one of his daughters down. Her name is Shirley. I know his wife’s name is Shirley too. We treated her like a princess. The next night she came down with one of her brothers, Butch. He later became Willie’s road manager. We treated him like a prince that he was. He was a fabulous young man. And, the third night they brought their Dad down. What I think he did was he said to his kids, go see what these Foghat boys are up to. I guess we were OK, and he invited us to his house the next time we were in Chicago, which was about 6 or 7 months later, maybe a year.

We went to his house on the Southside and had dinner with him and his family and it was a fabulous evening. Dave was there. We played music all night long. Guitar, Piano. Throughout the evening Willie would send one of his sons upstairs to the attic to pick up records from artists from the thirties and forties. He had this huge record collection. It was just a fabulous evening. I’ll be eternally grateful to Willie. He was a great man. It’s really cool when you meet your musical heroes or idols. They turn out to be these really cool people as well. Willie Dixon was a giant in his field definitely. Willie was special.

Monica: You have a new album coming up-covers or originals? What would you like to tell me?

Roger: Well, we were writing originals. But, right now it’s all covers. We just haven’t gotten around to doing them yet. Right now we have a blues record in the works. Some tracks on there are Otis Rush’s, ‘So Many Roads‘. We did an old Savoy Brown Song. ‘Needle and Spoon‘…‘Feel so Bad‘. There are six studio tracks. One instrumental. We have four or five live songs from some shows. That should be out at the end of the year. Next year we will start to work on a new studio record down in Florida. Each year we do something. We have a DVD in the works of live performances we have done over the years. Yeah, we are going to keep doing it. How does it go? We’re going to rock ‘til we drop.

Monica: Who does most of your arrangements of the cover songs?

Roger: The band. It is always a band effort. I’ll give you an example, like 'Slow Ride'. That was myself and Rod. We used to have a house out here in Long Island and we turned the basement into a rehearsal room. Nick Jameson, our long time producer, joined the band on bass. This is probably 1974/1975 around there. We were just jamming. Virtually the whole song, 'Slow Ride', came out of that. But, it was just the four of us playing. Then Dave said I got some words. The arrangement, the musical arrangement, was done by all of us. It was a band effort. ‘I Just Want To Make Love To You’ was a band effort. Myself and Dave would jam to that song in sound checks when I was in Savoy Brown. It’s a band thing. We have playing a long time and have a lot of experience, so everyone should use it, you know? Everyone has their say in this band.

Monica: Etta James did that song to. Did you ever meet up with her?

Roger: Once in a club in London, this was after our first album, she did a similar version. I thought it was really cool. She did our kind of version to the song with the guitar. You know, when you have a great artist like her want to do your version of a classic blues song, that’s really cool. In fact, a good friend of mine, who was at the Chicago Blues Festival, told me that most bands basically do our arrangement. That’s so gratifying when you hear something like that.

I met Etta, I bet she wouldn’t remember, but briefly. She has a fabulous voice. I met Koko Taylor at Willie’s house. Willie Dixon’s house. I’ve been privilege to play with some great players. John Lee Hooker and Muddy of course. It’s terrific.

Muddy was a great man too. He was special. In fact, I kept one of the lines from him. We did this show in NYC called, Foghat’s Tribute to the Blues, and we were back stage after the show. My parents were there and I introduced Muddy Waters to my parents, which was really cool because he was such a musical hero of mine. There was another guitar player there, a fantastic performer;guitar man, and I believe he played on John Lee Hooker’s early records. But, Muddy saw him from across the room. Muddy has the most beautiful face and wonderful way about him. He looked over and said, I know YOU! He couldn’t remember his name but knew him. And I thought, what a cool way to introduce yourself, if you can’t remember their name!

Monica: That works. I’ll use that. Roger, anything else you want to get out there?

Roger: One other thing. I’m working on a project with some friends out of Detroit. A guy called Daniel Wentworth, a guitar player. Derrick St. Holmes who used to sing with Ted Nugent, right? We are doing a blues project there. In fact, Daniel is a great player and sent me a song that he thought I should play. So, I had a couple of days off in Detroit so I did it on the first take. I knew the actual arrangement and then we ended up doing nine or ten tracks in the next three days. We had an album. Derrick listened and came on board as a the singer. That was a lot of fun. For this, I had a totally free hand. It was exciting to play with some other musicians. It was a blues album and it appealed to me.



Monica: Cool. Congratulations on that effort. Roger I won’t ask you if you really threw a TV out of a hotel window.

Roger: I don’t know where that came from. We never did stuff like that. (We laughed.)

*************************************************************************************

Just so you, the readers, know. I believe Roger never did anything like that. I truly do. He told me he glued chairs to the ceiling. Now, I don't believe that! Who has that kind of time to wait for glue to dry a chair on the ceiling? But, then again, Roger fishes!




If you enjoyed reading this article, perhaps you would enjoy reading other artists from the blues british invasion:

Kim Simmonds of Savoy Brown, Robin Trower Part I Interview

Thank you for reading American Blues News!

Copyright © 2009 Copyright Monica L. Yasher. All Rights Reserved.
Photograph Copyright © 2009 Maureen Ceidro. All Rights Reserved

Pittsburgh: Robin Trower Interview Part I by Monica Yasher

Playing. This is truly your passion?
"I have dedicated my life to it, and I still do."

This is part one of a two part series. When I spoke with Robin, he was traveling to a show in the North East part of the United States. Let me share some of the things we talked about.

Robin: Hello Monica

Monica: Hi, How are you?

Robin: I’m good..

Monica: That’s great Robin. Should we get started?

Robin: Yeah, sure.

Monica: OK. I’ve broken down the interview into some subcategories so that we could focus on some key parts. You’ve done so much.

Robin: Yes.

Monica: Some things I thought we could talk about are your guitar style, your guitar, your band, your songwriting. I don’t see a lot out there on your songwriting, and I know you are a songwriter. Equipment, your CD, and some fun points maybe no one has asked you about yet. OK?

Robin: Sure.

Monica: The first question I would like to ask you is that Jimmy Hendrix had a profound effect on you. I would like to know how did he effect you specifically? That statement is very generalized. Could we go a bit deeper and have you share what he did.

Robin: Well the thing is when Jimi came along he did for rock n’ roll what James Brown did for rhythm and blues. He changed it. He changed things. You had to sort of take it on board if you were going to move forward really.

Monica: If Jimi would be alive today would you have continued with the sound that you have created?

Robin: I think so yeah. Really the fundamental of what I do is in my writing. You know, the music that I create is really what the whole thing is based around. I think you got the music in you of whatever you are going to write. Regardless of whatever happens.

Monica: Well…how does the music come out from you? Is it typically a great lyric, is it a great melody, a great chord progression? How do you go about developing a song?

Robin: Well I’ve done it every which way. I’ve written the lyrics first. Mostly it comes from a guitar idea. Yeah.

Monica: Has anyone else impacted you as Jimmy Hendrix did?

Robin: Yeah. I mean as I said James Brown. Howlin’ Wolfe. You know Sun House. People like this have had a huge huge influence on me. I mean James Brown Live at the Apollo completely turned my head around. A complete 360.

Monica: Did you ever meet him?

Robin: No I never did. I have to say out of all the people I really admire he is my number one musical hero.

Monica: As a performer?

Robin: As a musician and a singer.

Monica: If you had an opportunity to meet up with any artist and chat for an hour, would he have been your pick?

Robin: Oh! Without a doubt! Without a doubt! He is just a monster with that kind of thing.

Monica: Do you play anything else besides guitar?

Robin: No. I don’t. I’m still struggling trying to perfect what I do on the guitar (he chuckled).

Monica: So, do you still practice?

Robin: Yeah. Yeah. Everyday.

Monica: Do you really? How long everyday?

Robin: I would say ½ hour is a minimum. But, if I am writing I can be on it for hours.

Monica: I understand that. I believe you are known to play loud. So when you practice do you practice loud too?

Robin: No. No. Not at all. I’m very quiet.

Monica: Do you really?

Robin: Yeah.

Monica: How does that affect your sound when you go to the stage? It has to be different?

Robin: Yeah. That’s right. But, I’m good at both.



Monica: Are you? Cool, (we laughed). I see that you did a switch in your amps. My question to you is when you want to do a change in your equipment, who is your subject matter expert or peer that you really respect to bounce ideas off of?

Robin: I don’t really have anybody. I do it by struggling with it and playing with it and playing with it until I get what I want.

Monica: That’s amazing.

Robin: Well, I sorta mess around with amps all the time. This new album I got I used these little Cornell amps for the studio. At the moment on tour, I’m using these vintage modern Marshalls, which are really great.

Monica: Why did you do the switch?

Robin: I’m experimenting all the time. I’m in search of an allusive greatest sound. I used so many different Marshall Fenders, I’m always switching. I never get the right sound because every room you go into changes what the amp can do. You know what I mean? You're always looking for one, that whatever the acoustic, it will be pretty constant. Very hard.

Monica: I’ve interviewed a few guitarists, and I have to say that your sound goes beyond the guitar. The equipment that you use with the guitar is extremely important. So your work and achieving it is all new territory for me. As a matter of fact your personal signature guitar came with accessories for the 100 guitars that were made for the name of Robin Trower.

Robin: Fender did an anniversary Strat and it had the effects with it. A deja vibe. The signature model, which is what that guitar was, is a Strat that they make with my name on it that’s built to my spec.

Monica: How long did it take you to develop that guitar, and how did you go about building that guitar?

Robin: I must admit a guy called Todd at Fender custom shop...I just talked it all through with him. I looked at all the available different kinds of things I could put on it from Fender’s manufacturing list. I chose different era vintage reissued pick ups. Each one a different one of the three. The basic guitar is really close to a vintage reissued Strat. But I chose some different details that make it particular to my own spec as it were.

Monica: And, why would someone choose your guitar over another guitar? What does your guitar offer for that artist?

Robin: I think maybe trying to get what I get out of it. You know. Trying to get that sound.

Monica: I know there are a lot of tribute bands trying to get your sound. What three pieces of advice could you offer these bands in order to re-achieve your sound? What is the most difficult thing to get to, and what could be some key elements for them to consider?

Robin: I think the big part of the sound that I get out of the Strat is I have quite a high action and use quite heavy strings on the top two. and I tune down a whole step. So that makes the sound of the guitar quite neat. And using the heavier strings as well. All that you get more resonance. That was the idea of having the bigger headstop on the guitar with a bit more wood on the neck and headstop, you get a bit more resonance. All these things add up to how the sound is made.

Monica: You really have worked hard at it. Years.

Robin: Well the thing is you learn a lot over the years. And, you still are learning what can help you and what not. I think I have put it together in that Strat in order to get the best sound out of it that suits me.

Monica: Thank you. What is your favorite part of being a musician? Recording, writing, playing, being on stage? Do you produce as well? I didn’t read anywhere that you did that.

Robin: Yes. I have co-produced a couple of albums with Brian Ferry. And, obviously a few of mine as well. What I love to do is play the guitar. So weather in the studio or live, I just love it.

Monica: Playing. This is truly your passion?

Robin: I have dedicated my life to it and I still do.

Monica: In your free time what do you do?

Robin: I’m a very big soccer fan. If there is a game playing on TV that’s my big relaxation really. I watch baseball in America.

Monica: Do you have a favorite team?

Robin: I don’t have a favorite. I just like watching the game.

Monica: Thank you. If you had the opportunity to thank someone for your career is there anyone you would like to thank.

Robin: I think Derek Sutton, my manager, has a lot to do with it. But, really I think why my music was so commercial in the 70’s was due to the singer. I had at the time James Dewar. I think he made it possible for the music that I was writing to cross over. Normally that kind of stuff wouldn’t be a commercial hit. I think his vocals made it so.



Monica: Anything you would do over again or differently?

Robin: I wouldn’t have made the albums I made that I made in the 80’s. I wouldn’t make them if I could do it over again?

Monica: Why?

Robin: I don’t like them.

Monica: That was a different question I had for you . As an artist do you look back at your earlier works and think why did I put that out there?

Robin: I think everybody has some of that.

Monica: You just grew as an artist. It’s all about growth.

Robin: Yeah I think you’re right. It’s just…I love everything I did in the 70’s The eighties I just lost the plot.

Monica: Well, I’m not sure people would agree with you. But, OK. Thank you. What does it mean to be a professional to you? What is your code of ethics?

Robin: If you can, you got to be true to yourself. I mean you got to be looking to from within to find the music that you got inside. You have to avoid trying to imitate or copying. You got to find the music that you got inside you and work hard to develop it.

Monica: Thank you.. One question, getting back to Jimi Hendrix. In your bio, I read that Jimi Hendrix allowed yourself greater creative freedom. My question is why didn’t you have that before Jimi Hendrix?

Robin: After Jimi died I wrote with Keith Reed in Procol Harum a tribute piece of music to Jimi. And it opened up…there was a song called, Song for a Dreamer, and it opened avenues for writing for the guitar which I didn’t realize before. I then started to get into more and more creating music for the guitar. I eventually had to leave Proco because I had so many song ideas to start my own thing.

Monica: Let’s talk about your new initiative how did that come about? Your tour with Jack Bruce?

Robin: We made a couple of albums in the 80’s, but never toured live and we were talking about doing a remix of those two albums and putting them out again. And Jack had the idea of writing some new material and adding it to the remixes, but when we started writing we got a whole lot of songs going so decided to make a new album. And we did eventually...this year...get to play live together.

Monica: So you’re having fun.

Robin: Yeah. It’s great!

Monica: That’s what it’s about. Do you have a favorite song on that album?

Robin: Probably on that album it’s probably, Distant Places of the Heart.

Monica: And why?

Robin: Why? I just think it’s a potent piece.

Monica: Is there anything you want to share that I didn’t ask you yet?

Robin: You didn’t ask me about my new album.

Monica: How IS your new album? That’s why you tour, right?

Robin: It’s called What Lies Beneath. I’m very proud of it. Very proud of it. But, anyway, maybe we can talk about that when you have a listen to it.

Monica: I would love to talk about your new CD. Absolutely! I’d be ecstatic to talk to you again.

Robin: Let’s speak again.

Monica: That would be great! Thanks Robin! I’ll set it up with your manager. I would love to talk about your CD and the writing and inspiration behind it.

Robin: OK then. Bye for now.

Monica: Bye Robin!

We did meet up and talk about his new CD. That interview will be posted on Friday, November 27.



If you enjoyed reading this article, you may like to sit back and read part II of the Robin Trower Series

Thank you for reading American Blues News!

Copyright © 2009 Monica L. Yasher. All Rights Reserved.
Photo Copyright © 2009 Maureen Ciedro. All Rights Reserved.

To purchase the rights to reprint this article, please email info@americanbluesnews.com.

USA: Happy Halloween! by Monica Yasher

Would you sale your soul this Halloween?
Enjoy a video I found of the 1986 movie Crossroads.



Wasn't that a great movie? I guess I was liking the blues before I knew the blues even existed!

American Blues News has an exciting announcement this October. We have a marketing director, Maureen Ciedro, to add to our roster. The first thing on Maureen's todo list is a logo. I personally think it is pretty cool, and can't wait to unveil it!

I would like to thank all the artists and record labels who are sending us emails and letting us know what is going on in with their artists and work! From those emails, I have determined that some of those events need to be covered! Keep them coming. I can't answer them all, but some of you know that you have gotten a review or an interview from your efforts! If you have any artists coming to the following areas: New York, Memphis, Chicago, Pittsburgh, Los Angeles, or Dallas, please be sure to let us know you will be in town. If schedules permit, you could see American Blues News covering your event!

November is the time to give thanks. I will offer my tribute for giving thanks for the great blues artists from across the Atlantic, Great Britian. Look for two interviews of Robin Trower. One on his guitar work. The second on his new CD. I also talked to Roger Earl of Foghat. I hear he is a great cook, so I wonder what he will be cooking for Thanksgiving? And, lastly, I will share a great conversation I had with Kim Simmonds of Savoy Brown. Figures my husband found a record of his weeks after I met him! I wish I would have had him sign it!

Next month look for a review of the very talented Zac Harmon, who has been traveling around with Bluzapalooza. We will also be talking to Michael Frank of:

SIX GENERATIONS OF THE BLUES FROM MISSISSIPPI TO CHICAGO
ONE NIGHT - ONE STAGE
CELEBRATING THE 30 YEAR ANNIVERSARY OF EARWIG MUSIC

Last month our guest writers were from all over the world. We went to Australia, India, and California. This month, I have a guest writer a little closer to my home, Pittsburgh. You have to catch Izzy and Chris! They are ranking on the blues charts, and Chris has an endorsement on harmonicas, being the great player he is!

This November I am thankful for all the people in my life. Be sure to tell those that you love that you are thankful for them. Logoff and do it right NOW! Life is too short. Until next month....

Monica


If you liked this summary, you may wish to read the September summary.

Thank you for reading American Blues News!

Copyright © 2009 Monica L. Yasher. All Rights Reserved.

Guest Writer Eugene Rodriguez, Los Cenzontles (The Mockingbirds)

Today our guest writer is Eugene Rodriguez. I found this band, once again, as one of my myspace friends. As I read this writing, it truly embraces what the blues is about in a fairtale kind of way to me. As in all fairtales, you have a group of people living in pretty tough times, but striving to make it. And then in our story, you have the heroes like Taj Mahal and David Hidalgo, our blues royalty and heroes. They pass on from generation to generation what the traditional blues is as well as moving it forward to be fresh and innovative, which leads to a very happy ending! Let's read about Los Cenzontles (The Mockingbirds).

Greetings readers. My name is Eugene Rodriguez. I am the producer of a new CD called American Horizon, a collaboration with my group Los Cenzontles(The Mockingbirds), blues legend Taj Mahal and David Hidalgo of Los Lobos. Los Cenzontles is a group of musicians that plays Mexican roots music. We are based out of Los Cenzontles Mexican Arts Center , a cultural center in a small converted liquor store in the East Bay Area of San Francisco. We perform traditional Mexican music and try to create fusions with other roots and world music. The members of Los Cenzontles literally grew up in the Center that was named after the group learning from masters from various styles of Mexican roots music and dance. These young people learn and incorporate the styles so deeply that they can easily fuse the roots together with other styles and cultures that surround them in our urban California setting.

We met Taj Mahal through David Hidalgo. Last year David recorded a CD with Los Cenzontles called Songs of Wood & Steel – a mix of Americana and Mexican music. As soon as Dave arrived at our studio one of the first things he said was ‘Taj has got to see this’. A year later we were lucky enough to get both Taj and Dave to record another CD – again mixing Mexican traditions – but this time with African American sounds.



I wanted to create an album that fused traditions from both the Mexican American and African American experience into a project about working in America – something that unites both communities historically. Of course both men were perfect for the job. David is the rare individual who straddles both American and Mexican music in his work with Los Lobos, The Super Seven and Latin Playboys, among others. Taj has a remarkable recording history of playing American roots music as well as other world styles. It was also especially perfect since these two masters have mutual respect for each other and have jammed together throughout the years on stage.

Most people in the U.S. know something about Cuban music or Brazillian music but rarely do you meet non Latinos with real knowledge of authentic Mexican music so I was especially impressed by Taj’s knowledge and respect for Mexican music. I quickly learned that Taj has an insatiable appetite for musical and cultural knowledge and an uncanny ability to incorporate all types of musical experiences into his own expression.

We recorded American Horizon in six consecutive days at our center, finding common rhythms and each musician contributing song forms and ideas as well as building on top of traditional songs. Our center, which is actually an old stripmall liquor store that we converted, was stacked high with David’s and Taj’s instruments such as banjo, madolin, steel guitar, ukelele, electric guitar, electric piano, violin, as well as Los Cenzontles ’ guitarron, jaranas, vihuela, guitarra de son and quijada, or jawbone. We were also extremely fortunate to have Kester Smith, a percussionist who regularly performs with Taj, and Cougar Estrada, a percussionist who regularly performs with David, at the sessions. These guys are simply amazing musicians.



The CD tells a story through fifteen songs of work, love and the search for the American Dream. It starts with something like a dream sequence with La Luna (The Moon), a ‘cumbia blues’ written and sung by Taj in Spanish of a tropical land and its people. It is followed by Voy Caminando (I Go Walking) which uses Mexican ‘son’ rhythm to tell of a young man leaving his home to find opportunity in the North. The bilingual track Sueños (Dreams), also sung by Taj, sings of the initial illusions that many recent immigrants have of the U.S. Throughout the narrative we hear an array of emotions including hope, love, despair and gratitude. Certain songs are musical vignettes with spoken voices (No Work) looking for work or talking about their day (La Rutina – The Routine). Style and instrumentation rocks back and forth from traditional to contemporary and often mixes it up. In Best of Me, David Hidalgo sings of despair in the face of worklessness against a beat of rock huapango, mixing traditional zapateado (percussive dancing) with heavy drum back beats. The album closes with a celebratory dance tune Solo Quiero Bailar (I Only Want to Dance).

Borders between countries are political and not cultural. Regional cultures arise from the historic ethnic make up of that region. People from Africa arrived to the U.S. as well as the Carribean islands and Mexico. African rhythms mixed with various European and Indigenous cultures in ways that distinguish these regions but also unify them. So our goal was to dig deep into the traditions – with respect and love, but also with the confidence to mix things up and create something new which is what we hoped to do with American Horzion.

We want to remind people of our common history and humanity. And we would like to remind people that the American identity has always evolved by absorbing cultural contributions from newcomers. And what better way to do it than through music?

But more than anything we hope that people will enjoy the sounds of American Horizon. It was ‘big fun to record’ as Taj says. And that is the truth.

Thank you for reading American Blues News!

Copyright © 2009 Monica L. Yasher. All Rights Reserved.
Photo Copyright © 2009 Los Cenzontles(The Mockingbirds).
All Rights Reserved.

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