Reviews

Jumpin' Hot Gigs  •

POKEY LaFARGE AND THE SOUTH CITY THREE / SOUR MASH TRIO- Jhot Club @ The Studio, Live Theatre 29/01/10-

Opening yet another gig at the Studio we had some homegrown talent in the form of the Sour Mash Trio, a tight and lively unit who merge rockabilly with country music they showed a great deal of promise.
Utilising a good portion of drinking songs, Dave Patton (lead electric and lap steel guitar), James Stephenson (lead vocals, acoustic guitar) and Mickey Downey on upright bass started off in a fired-up fashion, and though a little loud at first they soon adapted to the venue and an audience keen to hear the lyrics. Whether it was Johnny Cash’s Cry, Cry Cry, Carl Perkins’ Everybody‘s Trying To Be My Baby’ or their own material that stood up well and like their act in general was well received.
Their own ‘Tonight’s The Night I’m Gonna Call It A Day’ featuring fine electric lead guitar and rock steady bass saw Stephenson who, became more assured vocally as the night progressed at his best the boys debut at the Jumpin’ Hot went down a treat !
It was with a hint of uncertainty I welcomed, Pokey LaFarge and the South City Three but there was no need since Pokey is a real showman and, he dressed the part of a 1930s act too. Suit, hat and ‘spats’ and, he wasn’t short of an interesting anecdote or two. Playing acoustic guitar and singing lead he had the excellent support of acoustic guitar and upright bass on one side, while on the other side was the industrious Ryan Koenig playing harp, washboard and kazoo and he also came up trumps when asked to sing lead. The song in question ‘Mysterious Mose’ had him steal the limelight for three minutes as a jug band music presentation was introduced, otherwise the music played was pretty much St. Louis blues and a nod every once in a while toward the Mississippi blue yodeller Jimmie Rodgers. This was never more evident than when they performed ‘In The Graveyard Now’, an alternative to Rodgers’ much covered ‘In The Jailhouse Now’ the song like with ‘If You Can’t Make Money You Better Make Friends’ also of the same style were ideal for LaFarge.
With Koenig performing herculean deeds on harp and washboard, Adam Hoskins producing some beautiful acoustic guitar and the unflappable Joey Glynn keeping time, LaFarge though neither an exceptional player or vocalist his work on stage possessed magical air. He is a born leader, a natural act on stage, where humour and music merged effortlessly and as the night wore on music got better with every song.
With time fast running out or so it seemed Pokey had the boys step down off the stage to play in the audience. It didn’t end then, either as more entertaining fare was to be had, and with Pokey giving each act their taste of the spotlight ‘Daffodil Blues’ from his current album Riverboat Soul coupled with a song I thought to be ‘Move With This Town’ plus an old favourite of his ‘Cairo, Illinois’ still reserve it was like he wanted to play all night.
What a wonderful, totally unexpected treat the night turned out to be; near as unexpected as the heavy fall of snow on Tyneside and along the coast later in the night. It just goes to show it does pay to gamble every once and again.

Maurice Hope- pics Maurice + Sid Carne

CAROLINA CHOCOLATE DROPS – J”Hot Club @ OLD TOWN HALL GATESHEAD 28/01/10

It was an enthusiastic audience that welcomed the North Carolina based, Carolina Chocolate Drops and why not, since on their two previous gigs at the Cluny and the Sage they thrilled everyone with their wonderful musical energy.
Featuring Rhiannon Giddens (banjo, fiddle, vocals), Dom Flemons (bones, resophonic guitar, fife, jug and vocals) and Justin Robinson (fiddle, jug and vocals) the band did everything that was expected and more, as they picked, sang and in the case of Giddens, danced the night away, and this was after a set by the emerging Edinburgh singer-songwriter Steph MacLeod.
Drawing from his own personal experience of alcohol addiction and of when he was homeless, MacLeod impressed with his keen, straight talking lyrics. ‘Man In The Cold’, ‘Alone In The Dark’ and from his forthcoming debut album ‘Lord Have Mercy’ reached all parts (be sure to check it out).
His closer, the bruising ‘Goodbye EMI’ featuring frenetic strumming of guitar and likewise aggressive vocals had him go out on a high, and there were many people in agreement of the honest, authenticity of his music.
The Carolina Chocolate Drops after playing Glasgow’s Celtic Connections and a couple days prior they took part in a benefit in New York for earthquake victims in Haiti were in top form. Relaxed and assured in everything they did their music, of string-band origin of the Piedmont area. That sits at the base of the mountains, and dates back to their forbears in North Carolina has seen them bring the music into the homes of a great many in a relatively short time and live they sound better still.
Starting out with the instrumental ‘Peace Behind The Bridge’ the Carolinas eased them selves in nicely and, from them on it became all quite spontaneous as they dipped into a vast repertoire of old-time gems. Many, as they pointed out learnt from their good friend, 91 year-old musician Joe Thompson as banjo, fiddle and guitars rattled along in fine fashion. Resulting in such fabulous fare as ‘Sandy Boys’, ‘Snowden’s Jig (Genuine Negro Jig)’ —the title cut from their new album, and when, as was the case here, performed with such grace it was enough to take your breath away. Astonishing. To further underline their standing and the fact Carolina Chocolate Drops aren’t solely or anywhere like it only a high tempo unit Giddens, sang the smoky, jazz creation ‘Why Don’t You Do Right? But a hot tune was never far away as instruments were swopped back and forth. Thus leaving the listener never quite sure which way they were likely to go, yet one thing was for sure whatever they played it would be at the very least, good!
Whether it was the driving ‘Old Black Hen’ or a banjo, fiddle led with Giddens at the fore ‘Don’t Get Trouble In Your Mind’ —that was greeted with thunderous applause or ‘Lights In The Valley’ they were the business. If traditional, old time black string band music have a better friend than the Carolina Chocolate Drops I would like to meet them.
Underlining their innovative flair a stunning version the Blu Cantrell hit ‘Hit ‘Em Up Style’ gave their music a funky feel, before I hasten to add it was service as normal as Robinson let rip with his fiddle on the blazing ‘Sourwood Mountain’.
After coming back on stage with a rousing a cappella version of ‘Travellin’ Shoes’ —that was as good if not better than most anything they did was partnered by yet another sparking display of playing of fife, banjo and fiddle to close the night.

Maurice Hope- pics Sid Carne

TOM RUSSELL- J'Hot Club @ THE OLD TOWN HALL GATESHEAD 24/01/10

Americana ace singer-songwriter Tom Russell has played all the good venues in Newcastle and Gateshead and pretty much makes himself at home in them all.
Accompanied by his new tour partner, Thad Beckman —a finger styled guitar picker & harmony vocalist from Portland, Oregon, & like with fellow musician sidekicks, Andrew Hardin and Michael Martin, he lends much to aid the flamboyant and imagery adorned songs of Mr Russell.
It is doubtful if there has been or is a finer writer around than Tom of either the heritage of Mexico and the masters of the literally world of New York and folk fraternity of Greenwich Village plus of how America grew to be the country it became. A man of many talents Russell chatted freely with the audience throughout. His documentation of past events containing a magnetic pull on nostalgia and inbuilt appreciation for culture is unsurpassed, and on a night like this there was no holding him. Full of anecdotes he was in a humorus mood as he introduced his songs and spoke kindly of Dave Van Ronk as he drew on time in his company.
As anticipated, Russell and the superbly talented Beckman did a bunch of sings from Tom’s current album Blood And Candle Smoke before dipping back into a bottomless treasure trove of material that stretches back to the 1970s and is becoming bigger and better every day, and how good it is that he still tours and shares his treasured work.
While Russell’s work was exemplary there is no need for him to constantly name dropping, since, like I have noted his is in his own right one of the best of his era.
Material from his current album circled like native American Indians as the likes of future classics ‘East Of Woodstock, West Of Viet Nam’, ‘Criminology’ that spoke of his time teaching in Nigeria (with Beckman’s picking of an African flavour) and via ‘Mississippi River Runnin’ Backwards’ brought him back closer to his El Paso home. There were others too! A Mexican flavoured ‘Nina Simone’ and, with him very much on a crusade for all things Mexican he shared with us his views of how they have all too often suffered at the hands of it’s American neighbour. True or otherwise there comes a point when an audience no longer wants to be force-fed historic dialogue. but discover in their own time.
As for his back catalogue he chose well, and we could still be there yet sampling some of his treasures since he has so many. ‘Stealin’ Electricity’ and the sombre tale ‘Ash Wednesday’ made early appearances but with the Russell and Beckman, who, apart from giving wonderful support he was also able to demonstrate some finger-picking blues style as he mimicked Mississippi John Hurt, Doc Watson and Lightnin’ Hopkins while Tom did his take of his friend Ramblin’ Jack Elliott (good he was too). ‘Tonight We Ride’ had the audience get into the act, and just when it seemed it couldn’t get any better since ‘Blue Wing’ had come and gone he pulled more gems from his trunk. As a fine, if not the best version I have heard from him of borderland song ‘Who’s Gonna Build Your Wall?’ was tendered to close his set.
With no holding him, Russell and Beckman came back to encore with applause still ringing in their ears with ‘California Snow’ and ‘Haley’s Comet’. To place a little topping on the cake Thad Beckman did a Bo Diddley riff or two as they rode off into the Tyneside sunset.

Maurice Hope - pic's by Alan Harrison

MALCOLM HOLCOMBE w/ THE MINNIKINS@ THE STUDIO, LIVE THEATRE 23/01/10

It is always great to have Malcolm Holcombe perform at the club, and when he is in the kind of form displayed at the intimate, Studio (upstairs) at the Live Theatre just a little extra special. Sat rocking on his chair when he wasn’t stood, hunched at an acute angle over the microphone Malcolm swept up the audience to whisk them away to his world via stories and songs. Complete with quirky mannerisms he was top-notch, and because of the fact the audience were never quite sure what he was going to do or say next. As he joked and spoke of his life, sitting in his backyard looking for the shade and writing ‘Baby Likes A Love Song’ after something said by his wife.
A masterful acoustic guitarist, and likewise at creating a powerful rhythm to go with his smoky, bruising vocals that clung to the audience as songs from his new album ‘For The Mission Baby’, ‘A Bigger Plan’ and a beautiful ‘Whenever I Pray’—that contained hints of Woody Guthrie had him set out his stall and he never faltered.
Sounding better and his music more structured than I have ever heard him he held the audience transfixed and from the wry smile he gave when he was asked back on stage he knew it had been an especially good night and a one they will still be talking enthusiastically about this time next year and best of all. What great songs!
From the dashing title-track ‘For The Mission Baby’ to the wistful recollection of better days in a small mining community on ‘Hannah’s Trading Post’ to the pretty melody of ‘Doncha Miss That Water’ and the song he closed up shop ‘Marvelene’s Kitchen’. Man, he was hot and by the time the show had finished the audience it too was, in both body and soul.
‘Someone I Left Behind’ was a brand new song the last time he was over and like with the material on his then current offering ‘Gamblin’ House’ it possessed real quality. A remarkable guitarist, a human dynamo dressed in a checked shirt and over-sized, old worn leather jacket catering for all seasons Malcolm keeps time not to another drummer, but himself, and with him more often than not reeling off two songs at a time, before that is he would fidget and share a few words he pressed all the right buttons. With the pendulum now swung his way and him gaining more and more acclaim there is no reason why the world doesn’t hear a lot more of him. Malcolm is such a fine and precious talent it sure is about time; he is totally unique, a pure genius!
Like in the song he started with, ‘Not forgotten’ —this night will not be for a very long time

Prior to Holcombe, Nova Scotia brother and sister act, Gabriel and Ruth Minnikin (The Minnikins) had played their part as they brought a serving of Canadian folk music to the table. Playing mandolin, banjo and guitar, Gabe for the greater part of their show was content to support Ruth as she sang lead and added accordion to the mix. Gabe’s own Halifax Blues’ (a true story) and an accomplished version of ‘Will The Circle Be Unbroken’ were the pick and the ones I will long remember.

Maurice Hope - pics CJ Holley

ANAÏS MITCHELL and ERIN MCKEOWN, Cluny2, 22nd January 2010

Placing these two acts together for a UK tour was an inspired decision, since the fledgling singer-songwriter Anais Mitchell through her artful, carefully crafted songs may be for some a little quirky but she certainly is a gem. One of the true treasures of the new set of Americana acts, and there is little doubt she is to go on from here.
With two albums under her belt for Righteous Babe and another Hadestown due for release in March, Mitchell wasn’t short of material to call upon, and with her instant connection with the audience she was on a winner immediately she gave voice. From start to finish her light shone, and when you take into account the time she spent on stage aided Erin McKeown they were within their rights who had her down as the major performer.
Though small in statue, pocket dynamo Erin more than made up for her lack in inches through her superb handling of her Gretsch guitar and a burning desire to entertain. Yes, she has an ego, but don’t her fans and you can count those in attendance tonight love her for it and what energy. Talk about a 200watt light bulb in small room, the diminutive McKeown fits the bill like few others I can think of.
With Erin having the audience help out on two or three occasions the already intimate venue became that much more homely. It isn’t too often that you will have an act as in Mitchell sit in the front row on waiting the call to lend support!
I can well imagine McKeown would like to take this audience with her for some gigs, and with her doing no wrong they were even satisfied with her playing a short 50-minute set. McKeown was honoured to have Mitchell join her both on harmony vocals and guitar for a couple of songs. While for ‘You Sailor’ and ‘Santa Cruz’ she played a little Wurlitzer.
Ever smiling, Mitchell except on the occasions she became lost in concentration. She delivered her meticulously written songs, songs that cross boundaries as folk and pop become inseparable with a rare grace and beauty. Her greatest moments had to be the little off-kilter ‘Old-Fashioned Hat’, the wonderful new song ‘The Shepherd’ that like with her work from her Greek mythical tale and made into a folk opera, Hadestown Anais’ gift as a storyteller beyond the norm was superbly underlined.
With McKeown sharing a few songs from her latest album, Hundreds Of Lions —the splendid, and uncomplicated ‘To A Hammer’ fitted ideally alongside the likes of ‘We Will Become Birds’, ‘You Were Right About Everything’ and her must play ‘BlackBirds’. That she did as one of two songs she performed as her encore. As her grand finale McKeown had Mitchell return to duet on blues gospel favourite ’Ain’t No Grave Gonna Hold My Body Down’ to send everyone home happy; and that included the acts themselves because of the genuine bond shared by them. That played a prominent part of an evening when the standing of both was greatly enhanced.

Maurice Hope- pics CJ Holley

JAMES HAND and SARAH HARMER, CLUNY2 17th January 2010

It was with much anticipation country traditionalist James Hand made his return to the Cluny, although the last time he played it was in the larger bar venue. This when as support to Dale Watson when he greatly impressed. Playing solo, Texas singer-songwriter Hand was akin to a human country jukebox as one song after another were reeled off and, when at the tip of a hat he would perform a song requested by the enthusiastic audience. An audience who appreciated him almost as much as he enjoyed playing for them and his passion was such tears on occasions built up as he sang. With him a man of few words and who leaves the telling jokes and stories while on stage to others he racked up dozens of classic songs. As he sang a greatest hits-like package of a good many of the legends in country music!
Prior to James ‘Slim’ Hand taking to the stage it was the turn of fellow Rounder act, Sarah Harmer who had Dean Drouillard accompany her; who not only played a solid electric guitar but also gave fine harmony vocal support when called upon.
Harmer’s lean towards a more progressive form of Americana in the songs she performed from her forthcoming album saw Drouillard and herself underline the drive and sharpness her music will produce when she has a full band behind her.
Whether the material has the depth of her earlier songs as in ‘I Am Aglow’; a wonderful folk country affair from her I’m A Mountain record i dont know. As illustrated by the excellent ‘The Hideout’, ‘Uniform Grey’ and ‘Coffee Stain’, given a few more listens & also the likes of ‘Late Bloomer’ and Michelle Shocked-like ‘Almost’ and, a song I took to be entitled ‘Around The Corner’ will likewise, become permanently embedded in one’s mind. I for one would like to see her back over with her band, and fully expect them to rock.
Back with Hand, though he was keen to oblige and spoke well of his audience some of his covers, the Lefty Frizzell hits in particular ‘I Loved You Thousand’ blotted his copybook. Other than shaking up a series of classics with mixed success James did produce a few highlights via workings of his songs he wrote, as in the requested ‘In The Corner, At The Table By The Jukebox’ and the longest by a country mile song he performed ‘Old Man Henry’ he was to hold the audience in the palm of his hand and not let go.
A passionate and complex individual who, when he called for a towel it wasn’t only sweat he removed from his brow but a tear or two, and when it came to quality of songwriting ‘Shadows Where the Magic Was’ from his Rounder debut The Truth Will Set You Free it is as good as it gets and though there were a couple more occasions when he came near, all too often his songs were rushed and the covers trimmed down to an unacceptable length. Tell that to his fans and they would be well prepared to stand his ground and also defend my accusations that his songs though good are at times a mite too heavily Hank Williams influenced. As heard on songs from his latest album Shadow On The Ground that feature ‘The Parakeet’ and ‘Floor To Crawl’. It was honky tonk music as it used to be and why James did not give the album greater attention instead of him doing covers mystified me.
Maurice Hope - pics CJ Holley

J"Hot Club Outdoor Stage - Summertyne Fest - Americana Weekend,

July 25-26th 2009 - SageGateshead

There are few finer viewing areas than the Sage’s outdoor performing area, overlooking The River Tyne. Millennium Bridge & The Baltic Building and when the weather holds it is just perfect for an afternoon listening to music, Americana music, & amazingly to be precise, all the music for free. As ever alongside refreshments and food on offer at the Sage, the sun did indeed shine on the Saturday as The Hot Club Of Cowtown topped the bill. Much was promised, and while Dave Campbell took over emcee duties this year, he would announce to a sunshine crowd, that was indeed, the biggest yet for an event that was celebrating its 4th Birthday.

Opening the festival we had the eccentric, hugely entertaining and popular Baby Gramps. Playing his battered old guitar and looking twice as old as Noah, Gramps told stories and played his earthy country & blues music steeped in the roots of the greats (Rev Gary Davis, Fred McDowell etc). A wonderful storyteller possessing the enthusiasm of Uncle Dave Macon he had the audience eating out of his hand.

Up next stepped England’s own, The Barker Band whom I hadn’t heard of previously. Comprising 6 members, they had a great sound, enhanced I am sure by the addition of a banjo in their band.  Playing an excellent set, they played songs from their new album as well as some older tracks. They had the audience tapping their toes from the off and despite hailing from London, could easily be mistaken for an American band.

Glasgow act, The Fortunate Sons, a four-piece delivered a raw rocking set that took the listener to music spiced with flavours of Creedence Clearwater Revival. I found them a little repetitive but they still showed enough to suggest they will go on from here. Of their material the crowd, bathing in wonderful sunshine were taken with ‘Queen Of Hearts’ and ‘Walk On Fire’ as the boys worked very hard to connect & were an ideal mid afternoon outside stage choice!

English Alt Country young guns, Two Fingers Of Firewater were rather enjoyable too. Shipcote said that they sounded like The Drams? & With Hank Williams’ ‘Move It On Over’ in their set list too, they could hardly fail to leave a favourable impression with a crowd keen to sample music of a more traditional theme.

Grammy Award winner, the New York based Ryan Shaw, a late replacement for Phantom Limb fronted a small but fine 4-piece band playing good old-fashioned Soul/R&B. As soon as he began to sing Many Rivers to Cross, the whole crowd fell silent.  This was followed with a rendition of Bobby Womack’s Lookin’ For a Love as well as some self-penned retro Soul grooves from his current CD and upcoming EP. He just oozed confidence and had the audience in the palm of his hand for the duration of his set.

Before Eliza Gilkyson stepped up on stage I was told that she had her car broken into and Sat Nav system stolen. However, she still did a fine show. With herself on guitar and piano backed by guitarist Mike Hardwick and her son, Ryder Gilkyson on drums, stellar versions of ‘The Party’s Over’, the cracking ‘Emerald Street’ and her big Austin hit ‘Beauty Way’ (that, as ever flowed in timeless fashion) were my highlights. She has become an integral part of the Austin Texas scene, making a succession of five-star albums —with each better than the last! Beautiful World her latest recording provided her set with ‘Runaway Train’, ‘The Party’s Over’ and sombre, ‘Beautiful World’.

Having Texas swing ensemble the Hot Club Of Cowtown headline on the Saturday Jumpin’ Hot Stage was an unbelievable coup, and better still it saw them back performing together as a trio! While I don’t want to make all drummers redundant, the authentic music of Elana James (fiddle, vocals), Whit Smith (guitar, vocals) and Jake Erwin on upright bass (the best of his kind and more) as a trio is simply an experience you have got to try (& boy do they swing like crazy). This was a fantastic treat, and if you wanted to witness world-class musicians playing close up then you had certainly come to the right place. Elena James may get more than her share of attention due to her looks and prowess on fiddle & her own recent composition, ‘Reunion’ plus the charming piece ‘Deed I Do’ and ‘Forget-Me-Nots’ found her in tip top vocal form, but like all small, amazingly tight trios each member was as strong as the other. Other highlights were the old western swing tunes like ‘Stay All Night Stay As Little Longer’, ‘Ira Red’, Whit’s superb fronting of ‘Can’t Go On This Way’ and ‘Sleep’ and Bassist Erwin frenetic work of ‘Orange Blossom Special’ that unfortunately signalled their time was up. Now for those who had never seen the Hot Club before it had opened a brand new world to them. Plaudits teemed forth as they vacated the stage, & people had come from as far as Belfast, Somerset and beyond.

Sunday started indoors in the foyer due to the weather looking less than inviting, but once again the gods were on our side and by mid-afternoon we were back in the open air & the wonderful outdoor stage setting. After a special slot from Diana Jones, who was soon to win over the audience in Hall Two.
Local band Mother’s Ruin then took to the makeshift foyer stage, joined by none other than Shipcote (aka Graham Anderson, J Hot Club front man!) & friends. He jammed & played his self penned Geordie country swing tunes with them, showing he can both sing and play guitar.  I was very impressed.

Belfast duo The Lost Brothers cross-matched their music, especially the close vocal harmonies of The Everly Brothers, a bit of Simon and Garfunkel, the lyrics of Bob Dylan plus a little Mississippi John Hurt’s finger picking style. Their songs like ‘Ribbons And Bows’, ‘No Tears’ and ‘When The Ship Comes In “ worked well in the acoustic foyer. They also did enough to suggest that they are destined for bigger things??

Jon Allen & Band were another late replacement for a band called Moriarty. I didn’t know anything about them but was really amazed with the quality of this young man’s song's (folksy-country, rootsy good) & the grooves the band got too. They reminded me of JJCale at times and were again a perfect addition for mixing the afternoon music up.
Young American quartet The Midnight Ramblers came out all immaculately dressed, as is the fashion in bluegrass music, and their tidiness didn’t stop there, since their vocal harmonies were likewise, well neat and very tidy. Though different in personnel from the line-up of their new album, ‘Let It Shine’, their teenage banjo (Abram Mullins) and mandolin (Austin Boggs) pickers still remain, & with them proficiency in every department. They were tight, and flowing as a river with their vocal harmonies, matched by staggering interplay of upright bass, mandolin, banjo, fiddle and guitar, & with each musician taking their turn to spotlight, it was yet another highlight.

Local lads, Paul Lamb and Johnny Dickinson combined to bring some long gone Sonny Terry –Brownie McGee style blues to the Festival. Johnny D was as ever-in fine form on guitar and with the talented, harmonica-playing vocalist Lamb at his side, the crowd was well happy. While my personal preference is to hear Dickinson playing solo, this is no reflection on Paul, who impressed greatly throughout especially on songs such as ‘Ya Ya Blues’ and ‘Lonnie’s Blues’ dedicated to Lonnie Johnson. Among the finest duo efforts were ‘Hesitation Blues’ ‘I Get The Blues When It Rain’s’ and ‘C.C Rider’ —BUT did the crowd get the blues???? Maybe so, but they still stayed till the end before heading for food and liquid refreshments
Hank Wangford and The Lost Cowboys were handed the task of closing the Sunday stage, and though I am not a huge fan of Dr. Sam Hutt (HW’s other handle) he went down extremely well & has the knack of highlighting often forgotten areas and heroes of country music. One such hero being, Texan, Ernest Tubb, from whose catalogue he featured ‘Thanks A Lot’. Sang in the fashion Tubb used to sing, way flat! As explained by Hank, country music isn’t about perfection or political correctness, it comes from the heart — & the songs almost always have a story to tell. While Hank takes a tongue-in-cheek approach and indeed quite a few liberties, the audience lapped up his entertaining show. Much credit must go to his band that featured BJ Cole pedal steel and Martin Belmont on guitar. Highlights among which included the Mexican styled song, ‘How Long Have You Been Going Out With Chico? The skiffle country tune ‘Nothing Left’ and the fine waltz ‘Lonely Together’.

There is no denying his knowledge of the North and South American culture he freely shares & the Jumpin Hot Club stage over the weekend had more than its fair share of Americana music culture.

Maurice Hope - Helen Mitchell -pics CJ Holley

THE RED STRIPE BOSS SOUNDS FESTIVAL preview

starring headline performances from

FREDDIE MCGREGOR, DERRICK MORGAN plus OWEN GRAY

Saturday 20th June & Sunday 21st June2009 is being held at

The Cluny & The Cluny 2, 36 Lime Street, Ouseburn, Newcastle upon Tyne, NE1 2PQ

+ The Tyneside Cinema, 10 Pilgrim Street, Newcastle upon Tyne, NE1 6QG  and The World Headquarters, Curtis Mayfield House, Carliol Sq, Newcastle upon Tyne, NE1 6UQ
 
This year's Boss Sounds Festival will be the Red Stripe Boss Sounds Festival after the Jumpin' Hot Club secured a deal with the famous Jamaican brewer. 

Headlining this year's festival will be Roots Legend Freddie McGregor + The Congos (21st June) and Ska King Derrick Morgan in a superb double bill with Rock Steady legend Owen Gray (20th June). For this years festival the organisers are taking over the whole of the Cluny building with the main venue and Cluny 2 being called into action.  

Freddie Mc Gregor ranks alongside Bob Marley as one of the biggest reggae singers Jamaica has ever produced. Famous for his smash number One hit, "I Just Don't Want To Be Lonely" he is loved by pop fans and reggae enthusiasts alike. A graduate of the famous Studio One, Freddie entered the reggae world at the age of seven singing vocals with ska duo, The Claredonians. He went on the develop a reputation as one of the most vocally gifted singers in reggae, able to turn his hand to lovers or roots material with equal potency as demonstrated on massive hits like, "Big Ship" and "Jogging".

The Congos are a reggae vocal group from Jamaica active on and off from the mid-1970s until the present day. They are best known for their Heart of the Congos album, recorded with Lee "Scratch" Perry.

The King of Ska, Derrick Morgan's career dates back to the birth of the Jamaican record industry. He is famous for his Jamaican Independence anthem, "Forward March" and recorded extensively for Prince Buster. He later fell out with the great Prince and recorded, "Blazing Fire" which was featured on the Soundtrack to The Who film, Quadraphenia. A hero of the fledging skinhead movement he recorded the original "Moonhop" later covered by the Specials and adapted by Symarip as the Skinhead Moonstomp.

Owen Gray is one of Jamaica's 'Foundation' singers whose work spans the R&B, ska, rocksteady, and reggae eras of Jamaican music. His "On the Beach" celebrating Clement Dodd's Sir Coxsone Downbeat system in 1959,was one of the first releases on Dodd's Studio One label. He was also one of the first artists to be produced by Chris Blackwell, in 1960,his "Patricia" single was the first record ever released by Island Records. His first single, "Please Let Me Go", reached the top of the charts in Jamaica, and featured a guitar solo from Ernest Ranglin (Ranglin's first recording session). In the rocksteady era, he recorded for producer Sir Clancy Collins.

This year's festival will also feature for the first time outside Jamaica, "The Reggae Film Festival" which will see some of the greatest reggae films ever made screened at the Tyneside Cinema. Highlights include "Heartland Reggae" which documented Bob Marley's One Love concert and "Rico, the Legacy" which captures the trombone players life, tracking his time with The Specials and Bob Marley.

Other festival highlights include Ska'd for Life DJs and great bands, Diddley Squat and the Emporers Dentist plus as ever a tremendous After-show party at World Headquarters.

The Red Stripe Boss Sounds Festival 20th-21st June, Freddie McGregor, Derrick Morgan, Owen Gray, MC Ishu and many more, Cluny and Cluny 2, Tyneside Cinema and World Headquarters