Mick Clarke – Live At The Village (1991)

Mick Clarke has become an established name on the international touring scene and has played regularly in Europe, Asia and the USA. Praised for his fiery “straight from the wood” guitar sound, Mick is the winner of the 2014 Artist Aloud Awards “Best International Act” and appeared at Sweden Rock Festival in June 2018, sharing the bill with metal legends Iron Maiden.

The Mick Clarke Band was established in the early 80s and has appeared on numerous festivals with artists such as Rory Gallagher, Johnny Winter and Joe Bonamassa. Recent shows have included festival appearances in Italy, Belgium and India, and in July 2017 Mick appeared at the Mostar Blues & Rock festival in Bosnia-Herzegovina. Mick has released nineteen solo albums so far.

Mick began his career with KILLING FLOOR part of the British blues boom of the late 60s. The band backed Texas blues guitar star Freddie King and toured with legends Howlin’ Wolf, Otis Spann and Arthur “Big Boy” Crudup. Two albums were released – the first, “Killing Floor” is one of Classic Rock Magazines “20 greatest British blues albums 1967-1970”. In 2003 Killing Floor reformed for recording and tour projects, and recent live work has included several European blues and rock festivals.


In the mid 70s Mick co-formed SALT with British singer Stevie Smith, a powerful blues-rock act who were a big hit in the UK playing regularly at London’s Marquee Club and other top venues. The band played at the Reading Festival and also opened for Muddy Waters at his first major London concert. In 1978 the band morphed into RAMROD with ex Rory Gallagher Band members Lou Martin and Rod De’Ath, touring in Ireland and again playing extensively in London, opening for Muddy at his Rainbow Theatre concert.

THE MICK CLARKE BAND originally started working around the London area in the early 80s, but quickly received offers of work from mainland Europe and the United States. Early festival appearances such as the Belgium R&B Festival in Peer confirmed their appeal for continental audiences, while the US tours established a world wide reputation for the band.


Mick’s first solo album “Looking For Trouble” came out on the Italian label Appaloosa in the early 80s and sold well. More albums quickly followed including “West Coast Connection” recorded in Portland, Oregon with an all star line-up including Curtis Salgado, Rod DeAth (Rory Gallagher Band) and Dover Weinberg (Robert Cray Band). Later releases were on the German label Taxim, including the classics “No Compromise” and “Roll Again”. “Happy Home” on Mick’s U.S. label Burnside featured just Mick with Lou Martin on piano and some old favourite songs. “Live in Luxembourg” was Mick’s first live album, recorded in 2002 at the “Big Blues” in Luxembourg, and the 2007 “Solid Ground” contains thirteen original blues rock compositions.

“The Rambunctious Blues Experiment” was recorded at Mick’s home studio in Surrey, “Rockfold” and features Mick with Russell Chaney on drums and Dangerous Dave Newman on harp. “Ramdango”,”Crazy Blues” and 2015’s “Shake It Up” were also recorded at Rockfold, but by Mick alone, on a variety of instruments – real drums, but not MickClarke03necessarily all at once. The live “Ruff’n’Roar” showcases the band’s down home blues side, live in a small club with Chris Sharley on drums and Eddie Masters on bass. “Diggin’ Down”, “Bent Frets” and the current “Steppin’ Out” have continued Mick’s solo approach to studio recording, although “Steppin’ Out” features a guest appearance by harp player Dangerous Dave Newman.

Recent tours have included appearances at the Baden Blues Festival in Switzerland, “Blues Express” Luxembourg, “Rock at Sea” in Stockholm, Sweden, “Seven Nights to Blues” in France and the Bragdoya Blues Festival in Norway. In 2014 the Mick Clarke Band headlined the “Simply The Blues” Festivals in Mumbai and Bangalore, India. Recent European festival dates have included the Mostar Blues and Rock Festival, Bosnia-Herzegovina in July 2017.

In the U.S.A. Mick has appeared with artists such as Johnny Winter, Canned Heat, Foghat and C.J.Chenier. The Southern California Blues Society called him “One of the finest blues players to come out of England”.

The Mick Clarke Band usually features Chris Sharley on drums and Eddie Masters on bass, either as a three piece or augmented with Dave Lennox on keyboards or Dangerous Dave Newman on harp.


In June 2018 Mick played at Sweden Rock Festival, one of Europe’s major rock events, with Chris Sharley and Stuart McDonald (Killing Floor) on bass. The festival was headlined by Iron Maiden and Ozzy Osbourne. A new single, Rick Derringer’s “Rock and Roll, Hoochie Koo” was released on 24 May 2019 and In July 2019 the band headlines the Blues Night at the Karlshamn Baltic Festival, Sweden. (marshalamp.com)

And here´s a pretty good audience recording from 1991, done by my own … (shame on me … smile) … it was recorded live The Village , a small club in a very small village near Munich/Germany …

And if you love these fucking old hot and dirty Blues-Rock… you should listen …

Mick Clarke at his best …

MickClarkeBand1991The Mick Clarke Band, 1991, Zürich/Switzerland

Kerry Canfield (keyboards)
Mick Clarke (guitar, vocals)
Mike Hirsh (drums)
Dave Newman (harmonica)
Mick Phillips (bass)

And Mick Clarke is still alive and wel. Here´s a screentshot from his official website:

01. She Don´t Bother Me (unknown) 5.30
02. Looking For Trouble (Clarke) 4.52
03. Crazy Bout A Woman (Clarke) 4.31
04. Gypsy Woman (Morganfield) 8.24
05. Walking Blues (Johnson) 4.51
06. It Hurts Mee Too (James) 5.00
07. You Need Love (Dixon) 6.34
08. It Ain´t Easy (unknown) 5.22
09. Unknown track 5.02
10. I´m In The Mood (Hooker) 6.58
11. Nothin´ But A Fool (Clarke) 5.08
12. Walking My Myself (Rodgers) 4.44
13. TV Blues / Gone Too Long (Clarke) 8.10
14. Live At The Village (Part 1) (uncut version) 42.06
15. Live At The Village (Part 2) (uncut version) 42.48



Paul Rodgers & Friends – Live At Montreux 1994 (2011)

PaulRodgersFrontCover2.jpgIn 1993, Paul Rodgers was a free man. The Firm had dissolved, the legendary front man was above and beyond The Law, Bad Company had become a distant, but still treasured, memory and the revered Free was long gone. Left with nothing to do, the singer with the brawny, torn-and-frayed pipes and expressive, denim-clad delivery looked again to the blues, his one true love, for inspiration. He found it in the music of Muddy Waters.
Keen to pay homage to the great man, Rodgers didn’t break character. Muddy Water Blues: A Tribute to Muddy Waters may have contained the spark of the Chicago-style electric blues that Waters once perfected, but it was powered by the blues-rock combustion of Rodgers’ work with Bad Company and Free. Not all of the tracks on Muddy Water Blues, the second of Rodgers’ solo albums, were Waters covers, but his spirit haunts the record, inhabiting its grooves and inspiring Rodgers and his collaborators. In 1994, a year after Muddy Water Blues’ arrival, Rodgers brought much of that record to life in a blustery, sweaty concert at Montreux, where he was joined onstage by the likes of Journey guitarist Neal Schon, drummer Jason Bonham, guitarist Ian Hatton and bassist John Smithson, as well as several guests, including Queen’s Brian May, Toto’s Steve Lukather and blues veterans Luther Allison, Eddie Kirkland, Sherman Robertson, Robert Lucas and Kenny Neal.

Though a star-studded affair, Live at Montreux 1994 has more of a blue-collar feel. This is a workingman’s record, with dirt under its fingernails and calluses on its hands. Sprinkled with plenty of songs that Rodgers made famous with Free and Bad Company, Live at Montreux 1994 also finds Rodgers digging his hands into the earthy soil of blues classics like Waters’ “Louisiana Blues,” which simmers with menace and pure nastiness on the stove here, letting all the rich flavors – including a particularly tasty guitar solo – sink into its meaty textures. In a surprising turn, May gets down and dirty on the Sonny Boy Williamson number “Good Morning Little School Girl,” his distorted guitar becoming PaulRodgers02.jpga careening crop duster that dives and climbs with all the daring of pilot with a death wish. The highlight of a sensational set, “Good Morning Little School Girl” is simply mean, burning with intensity and passionate playing. To finish off the night, Rodger and crew slam into Robert Johnson’s “Crossroads” and the closer, “Hoochie Coochie Man” by Willie Dixon, with all the force of a hurricane. The guitars sound like switchblades on and cut deeply with every note on “Crossroads,” as the rhythm section works up a mean, mean thirst crawling through the gutter on “Hoochie Coochie Man.”
Three of the songs Dixon wrote for Waters, including 1954’s “Hoochie Coochie Man” and “I’m Ready” and 1961’s “Let Me Love You Baby,” are included here and performed with all the righteous fervor of a tent revival ministry, as is Booker T. & the MGs’ “The Hunter.” Just as propulsive and muscular are the Rodgers’ classics “All Right Now,” the old Free hit, and rust-covered Bad Company diamonds “Can’t Get Enough (of Your Love)” and “Feel Like Making Love.” Ever the professional, Rodgers’ nuanced vocals add richness and depth to each track, while his handpicked group of hired guns plays the daylights out of this material almost all the way through, with the exception of the rare uninspired moment. The recording quality is pretty sound and world-class music writer Malcolm Dome does the show justice with well-written, informative liner notes. All of this makes you wonder if, or when, Rodgers will delve even deeper into the blues down the road. (by Peter Lindblad)

What a line-up, what a concert. what a night … it was another night, the legends came out to play !


Jason Bonham (drums)
Ian Hatton (guitar)
Eddie Kirkland (guitar)
Steve Lukather (guitar)
Brian May (guitar)
Claude Nobs (harmonica)
Paul Rodgers (vocals, guitar)
Neil Schon (guitar)
John Smithson (bass)

01. Travelling Man (Kossoff/Kirke/Rodgers/Fraser) 3.27
02. Wishing Well (Bundrick/Kossoff/Kirke/Rodgers/Yamauchi) 3.57
03. Louisiana Blues (Morganfield) 5.00
04. Fire And Water (Rodgers/Fraser) 4.07
05. Muddy Waters Blues (Rodgers) 5.07
06. Good Morning Little School Girl (Williamson) 4.14
07. I’m Ready (Dixon) 3.37
08. Little Bit Of Love (Kossoff/Kirke/Rodgers/Fraser) 3.34
09. Mr. Big (Kossoff/Kirke/Rodgers/Fraser) 5.17
10. Feel Like Making Love (Ralphs/Rodgers) 5.43
11. Let Me Love You Baby (Dixon) 4.40
12. The Hunter (Cropper/Dunn/Jackson/Wells/Jones) 4.27
13. Can’t Get Enough ( Of Your Love) (Ralphs) 3.52
14. All Right Now (Rodgers/Fraser) 6.57
15. Crossroads (Johnson) 4.41
16. Hoochie Coochie Man (Dixon) 7.35



Johnny Mastro And Mama´s Boys – The Black Album (2004)

FrontCover182 year old, forty-year veteran blues club owners from Vicksburg Mississippi don’t get impressed with slicked back hair and suits that went out in the 50’s….just dress nice and remember no shorts on stage. They don’t care who you played with….B.B., Albert, Big Mama, Pee Wee, George Smith, Neckbone, William Clarke, Mickey Champion and all the rest have already been there in person sweating it out just like you. Blues music to them is a living, breathing, drinking and dancing thing that they made their living from….not some petrified, mystified, glorified, rule-laden hallowed treasure to be worshipped on a pedestal. Basically, they know where the music comes from…but they really don’t care about this either. All they want to know is…can you play with soul?

Mama’s Boys come out of Los Angeles/Long Beach and were named after club owner Miss Laura Mae “Mama” Gross. They are led by harmonica player Johnny Mastro who learned to play and sing with Mama watching over. Harps aren’t the favorite instrument in these sax-friendly clubs so you have to know what your doing. But right along with George Smith and William Clarke, Johnny is her favorite. Dave Melton is one of the most soulful guitarists you’ll ever hear and many of LA’s guitarists come out to watch his hands and slide. You can put the rhythm section up against any in the business …no B.S.Mama calls them all her sons and encouraged them to listen, be yourself, and play from the heart.


The Boys have played over 250 gigs a year for the last 9 years, headlined the 28th Annual Grand Prix of Long Beach, have been nominated for “Best Blues Artist” by LA Music Awards, were named “Best Unsigned Blues Band” in Southern California by Doheny Blues Festival, were one of two finalists in LA’s RockWar 2000, voted one of LA’s “Top 100 Unsigned Bands” by Music Connection Magazine, were featured on the national/international syndicated radio program “Blues Deluxe”, recorded 5 CD’s, and can still be found down at Babe’s & Ricky’s Inn. (by cdbaby)

Johnny Mastro & Mama’s Boys’ music, with its alarming, undisciplined presence, is on the cutting edge of modern Blues style. Although the band is awash with shocking juxtapositions that give it a dangerous, reckless look, the music is suprisingly accessible, even in larger venues. See them live is always a deeply moving entertainment experience.


It was over 12 years ago at the oldest Blues club in Los Angeles, Babe’s and Ricky’s, that Johnny Mastro (harp & vocals) found himself in a Blues band called Mama’s Boys. Johnny was encouraged and guided by the band’s namesake, Ms. Laura-Mae “Mama” Gross, proprietor of the club since its earliest beginnings back in 1957. Johnny’s passion for Blues to propelled the band forward, building a local following that kept coming back week after week. Soon the Mama’s Boys band was playing its energy-infused Blues in other Southern California venues as well, often to sell-out crowds.

Looking back at what happened next tells most of this story: Mama’s Boys has consistently played 250+ gigs each year in Southern California for over 10 years running. They might be one of the hardest working young Blues bands in the world. And the world, it seems, is now beginning to discover what many Southern Californians have understood for years: Mama’s Boys Kick Ass.


On The Black Album Mama’s Boys offer Blues that is raw and powerful,without excuses or apologies. They don’t need them. Mama’s Boys is carving its initials in the territory of blues benchmarks set by Hound Dog, Buddy, Muddy, Wolf, Willie, Walter, Junior, and Elmore, among others. It’s electrified Blues like you could have heard in a club on
the South Side of Chicago in about 1949; a musical expression of the kind of raw emotion that is the true grit of life. Fans of Chicago Blues will snap up this new Mama’s Boys CD, then get the two released before it, also excellent, Chicken & Waffles (2002) and Pinch That Snake (2001).

The band has just returned to L.A. after a wildly successful first tour of Europe and they are ready to rip it up in the homeland, from sea to shining sea. On this CD they have proven themselves worthy of the trip.


Johnny Mastro’s gutsy, emotive harp is a perfect companion to his distinctive world-class vocals. Couple that with Jimmy Goodall’s greasy lock on the drums and suddenly we begin to understand the Mama’s Boys’ unflinching grasp on excellence. Without need for ego trips, these guys each play well enough to lead their own Blues band. It’s that simple.

Mastro5The music is recorded with simplicity, too. For this CD they went into the studio, set up some mikes and played live for about four hours. Then they did that again. These songs are taken from those live sessions, raw and natural. Not many bands have the guts to record like that, knowing that even the smallest error gets amplified by the recording process. When music stands as it is, without any overdubs or other studio tricks, you get the truth. On this new CD, or any of the Mama’s Boys’ CDs you can pick up at their performances, you’ll hear just that, the truth: the same great music by the same great musicians you saw on stage.

When Mama’s Boys come to play in your town, I urge you to make it a point to go see them play. You’ll be treated to rock-solid high-energy Blues and a butt-movin’ good time, guaranteed. (by Gary Wagner)

Oh yes … play this album loud … because it´s hot and dirty !


Denny Freeman (guitar)
Jimmy ‘Jimbo’ Goodall (drums)
Jeff Henry (bass)
Johnny “Mastro” Mastrogiovanni (harmonica, vocals)
Dave Melton (guitar, slide-guitar, vocals)


01. Slave (Mastrogiovanni) 4.10
02. Loverman (Mastrogiovanni) 4.07
03. Cry For Me (Mastrogiovanni/Goodall) 4.32
04. Middle Of The Night (Mastrogiovanni/Henry) 3.23
05. Think Twice Before You Go (Hooker) 3.05
06. Can’t Kick the Habit (Dupree) 6.40
07. Sleeping In The Ground (Meyers) 3.19
08. Flat Down On My Back (Shah/Glazer/Mastrogiovanni) 4.56
09. Chariot (James/Levy) 3.32
10. Done Somebody Wrong (James/Levy) 4.31
11. Billy Boy (Melton/Mastrogiovanni) 3.29



“Hugely promising band. The dark drama of Mastro’s singing and harp playing and Dave Melton’s guitar recalls the early Paul Butterfield Band, while the recording ambience conjures up the 50s storefront studios of Chicago.” MOJO

“This marvellous album is as good an example as one would wish to hear of gritty gutbucket R&B in the Chicago style. Impossible to play quietly.” BLUES MATTERS

Henry Vestine – Guitar Gangster (1991)

FrontCover1.jpgHenry Charles Vestine (December 25, 1944 – October 20, 1997) a.k.a. “The Sunflower”, was an American guitar player known mainly as a member of the band Canned Heat. He was with the group from its start in 1966 to July 1969. In later years he played in local bands but occasionally returned to Canned Heat for a few tours and recordings.

In 2003 Vestine was ranked 77th in Rolling Stone magazine list of the “100 Greatest Guitarists of All Time”.

Born in Takoma Park, Maryland, Vestine was the only son of Harry and Lois Vestine. His father was a noted physicist who specialized in gravity studies. The Vestine Crater on the Moon had been named posthumously after him. Henry Vestine married twice, first in 1965 and in the mid-1970s to Lisa Lack, with whom he moved to Anderson, South Carolina. In 1980 they had a son, Jesse. In 1983, after they separated, Vestine moved to Oregon.

HenryVestine03Vestine’s love of music and the blues in particular was fostered at an early age when he accompanied his father on canvasses of black neighborhoods for old recordings. Like his father, Henry became an avid collector, eventually owning tens of thousands of recordings of blues, hillbilly, country, and Cajun music. At Henry’s urging, his father also used to take him to blues shows at which he and Henry were often the only white people present. Later Henry was instrumental in the “rediscovery” of Skip James and other Delta musicians.

In the mid-1950s, Henry and his childhood friend from Takoma Park, John Fahey, began to learn how to play guitar and sang a mixed bag of pop, hillbilly, and country music, particularly Hank Williams. Soon after the family moved to California, Henry Vestine joined his first junior high band Hial King and the Newports. On his first acid trip with a close musician friend, he went to an East LA tattoo parlor and got the first of what was to be numerous tattoos: the words “Living The Blues”. Later, in 1969, that became the title of a double album by Canned Heat. By the time he was seventeen he was a regular on the Los Angeles club circuit.


He became a familiar sight at many black clubs, where he often brought musician friends to turn them on to the blues. Henry became friends with Cajun guitarist Jerry McGhee. It was from him that Henry learned the flat pick and 3-fingerstyle that became so much a part of Henry’s own style. He was an early fan of Roy Buchanan and his favorite guitar players included T-Bone Walker, Johnny “Guitar” Watson, Sonny Sharrock, Freddie King, and Albert Collins. In Canned Heat he was able to play and record with John Lee Hooker whom he had admired since the late 1950s.

Throughout the early to mid-1960s Henry played in various musical configurations and eventually was hired by Frank Zappa for the original Mothers of Invention in late October 1965. Vestine was in the Mothers for only a few months and left before they recorded their debut album. Demo tapes from Mothers of Invention rehearsal sessions featuring Vestine (recorded in November 1965) appear on the Frank Zappa album Joe’s Corsage; posthumously released in 2004.

HenryVestine05His friend Fahey was to be instrumental in the formation of Canned Heat. He had introduced Al Wilson, whom he knew from Boston, to Henry and Bob and Richard Hite. Wilson, Vestine and the Hite brothers formed a jug band that rehearsed at Don Brown’s Jazz Man record Shop. Bob Hite and Alan Wilson started Canned Heat with Kenny Edwards as a second guitarist, but Henry was asked to join. The first notable appearance of the band was the following year when they played at the Monterey Pop Festival. Shortly after Canned Heat’s first album was released, Henry burst into musical prominence as a guitarist who stretched the idiom of the blues with long solos that moved beyond the conventional genres. He had his own style and a trademark piercing treble guitar sound. Vestine missed playing at the Woodstock Festival in 1969, having quit the band the previous week. In 1995, he explained to an Australian reporter that “[a]t the time, it was just another gig. It was too bad I wasn’t there, but I just couldn’t continue with the band at the time.” There had some tension between him and bassist Larry Taylor. When Taylor quit Canned Heat, Vestine returned; their alternating membership in the band was to be repeated a few more times over the years.

HenryVestine02While Canned Heat played at Woodstock in August 1969, Henry was invited to New York City for session work with avant-garde jazz great Albert Ayler. That session work resulted in two releases on the Impulse label.

At the same time he developed an intense interest in Harley Davidson motorcycles. He eventually owned eleven of them. Prior to his death he was looking forward to playing at their 75th Anniversary Celebration. Over the years he had also a close relationship with the Hells Angels.

Through the 1970s gradually Canned Heat had become a part-time occupation with occasional gigs and recordings sessions. When Vestine’s marriage broke up in 1983, he moved to Oregon. There he lived on a farm in rural Summit for a year and then in Corvallis, making a living doing odd jobs and playing music at rodeos and taverns in a country band with Mike Rosso, an old friend from southern California who had also moved to Oregon. He also played with Ramblin’ Rex.

Terry Robb brought Vestine to Portland and they did some recording together. Henry began playing with the Pete Carnes Blues Band and made his way to Eugene when the band folded in the mid-1980s. He played the regional club scene with a number of blues and blues-rock groups including James T. and The Tough. From that band he was to bring James Thornbury to a reconstituted Canned Heat.


Vestine toured with Canned Heat in Australia and Europe, where the band had a popularity that far surpassed the recognition they got in the United States. When he returned to Eugene he would play with The Vipers, a group of veteran Eugene blues musicians who perform throughout the Northwest. He continued to record including sessions with Oregon bands such as Skip Jones and The Rent Party Band, Terry Robb, and The Vipers. He also recorded the album Guitar Gangster with Evan Johns in Austin.

Vestine had finished a European tour with Canned Heat when he died from heart and respiratory failure in a Paris hotel on the morning of October 20, 1997, just as the band was awaiting return to the United States.

Henry Vestine’s ashes are interred at the Oak Hill Cemetery outside of Eugene, Oregon. A memorial fund has been set up in his name. The fund will be used for maintenance of his resting place at Oak Hill Cemetery and, when it is possible, for conveyance of some of his ashes to the Vestine Crater on the moon, which had been named after his father Ernest Harry Vestine. (by wikipedia)

Blues Hall Of Fame.jpg

And here´s is one of his most powerful recordings featuring Evan Johns,the legendary drummer Jimmy Carl Black and Marcia Ball (on piano only).

This is a tour de force album … enjoy the power and the many sides of the Blues ! Enjoy this gigh energy album !


The New Roses labels

Marcia Ball (piano)
Jimmy Carl Black (drums)
Mike Buck (drums)
Evan Johns (vocals, guitar)
Mark Kopi (guitar)
Dan McCann (bass)
Henry Vestine (guitar)


01. Henry’s Boogie (Vestine/Black/McCann/Johns) 4.31
02. Guitar Pickin’ Fool (Glover/Cee) 2.10
03. Henry Comes To Austin (Vestine/Black/McCann/Johns) 3.54
04. Drunk (Liggins) 5.37
05. Lookin’ Good (Maghett) 2.42
06. I’m A Whore (Vestine/Black/McCann/Johns) 3.42
07. No Phone (Vestine/Black/McCann/Johns) 4.04
08. The Stumble (King/Thomson) 4.20
09. Oh Henry (Vestine/Black/McCann/Johns) 3.37
10. No Care Boogie Ball (Vestine/Black/McCann/Johns) 1.59
11. I Wish Your Picture Was You (Price) 2.36
12. Marty Miss You (Vestine/Black/McCann/Johns) 3.10
13 Six O’Clock (Gross) 1.43
14. Troubles, Troubles (Langlois/Ruffino) 3.04
15. Death Blues (Vestine/Black/McCann/Johns/Korpi) 5.01
16. Henry’s Blues (Vestine/Black/McCann/Johns) 4.41





Rob Tognoni – Energy Red (2012)

FrontCover1Rob Tognoni and his guitar have been treading the stages worldwide for the past 35 years.

He has opened for the greats – Roy Buchanan, Stevie Ray Vaughan’s mentor Lonnie Mack, Joe Walsh from the Eagles, shared stages with Sting, ZZ Top, Bo Diddley. He has represented Australia at the Royal Wedding celebrations of Prince Frederik & Princess Mary of Denmark, performed for FIFA World Cup Football in Kaiserslautern, played from maximum security prisons in Australia to Mozart’s House in Vienna plus countless other experiences that have honed his skills.

Rob is originally from Tasmania, Australia and goes under the pseudonym of “The Tasmanian Devil”.

His style is fiery, energetic, inventive and explosive. His roots are from blues, blues rock & classic rock but also adding many other colours to the palate to give him his sound & uniqueness.

Rob is also energetic & physical on stage, a performer & not just a musician. Echos of Cream, Hendrix, BB King, AC/DC can be heard woven through his musical fabric.

20 albums over the past 22 years are to his credit through labels such as Provogue, Dixiefrog, Blues Boulevard coupled with countless, tireless tours.


His shows are a true experience not to be missed. As written by a British journalist: “You have to admire Rob Tognoni’s stamina. He is able to sustain a ferocious pace, few could manage it…Perhaps his stamina is the consequence of 30 years conditioning. Perhaps it’s natural selection…” (Blues In Britian Magazine)

From Tasmania, Australia, Rob Tognoni delivers a 100% powerfully charged experience with every performance. After 30 years his explosive guitar playing and unique songs are now being compared with the greats of his genre and have firmly established him in the European venues & festivals as well as gaining many fans of hard blues rock worldwide. Her is the Rob’s new studio CD : “Energy Red” which contains 9 original tracks, as well as 4 covers from The Marshall Tucker Band, Crowded House, Rolling Stones & Australian bluesrock legends, Chain. A real boogie-rock oriented record, full of ideas and inventiveness! -(bluesweb.com)


Mirko Kirch (drums)
Frank Lennartz (bass)
Rob Tognoni (guitar, vocals, percussion)
Kel Robertson (keyboards)
Leigh Robertson (didgeridoo, percussion)


01. Take You Home Now (Tognoni) 5.41
02. Boogie Don’t Need No Rest (Tognoni) 4.05
03. Fire From Hell (Tognoni) 3.32
04. Someone To Love Me (Tognoni) 5.24
05. Don’t Love (Tognoni) 5.03
06. Queensland Heat (Tognoni) 4.04
07. Blue Butterfly (Seven Reasons) (Tognoni) 4.51
08. Can’t You See (Caldwell) 6.03
09. I Remember When I Was Young (Taylor) 4.47
10. As Tears Go By (Jagger/Richards/Oldham) 2.36
11. Better Be Home Soon (Finn) 2.41
12. So Fuckin’ Bored (Tognoni) 2.59
13. I Wanna Play An Iggy Pop Record Today (Tognoni) 2.31



Snowy White Project – In Our Time… Live (2010)

FrontCover1Snowy White has an extensive and impressive CV, serving guitar duties with huge rock acts such as Thin Lizzy (Chinatown and Renegade albums), Pink Floyd (Animals & The Wall tours), Roger Waters, Joan Armatrading, Peter Green and Al Stewart amongst many others. Whilst still to be found touring with Pink Floyd & Roger Waters, Snowy also fronts his own bands ‘The White Flames’ and ‘The Snowy White Blues Project’ and has released a number of well received and commercially successful albums and even scored a hit single with the song Bird Of Paradise.

‘In Our Time… Live’ A Snowy White Blues Project album was recorded in Holland in 2009. Features Snowy alongside Matt Taylor: (guitar & vocals) Ruud Weber: (bass & vocals) Juan van Emmerloot: (drums).

A blues masterclass from former Thin Lizzy and Pink Floyd man…an excellent showcase for White’s nigh-on perfect guitar playing. (Hot Press)

SnowyWhite.jpgClassic Brit Blues Rock, pure RnB and gooving rockin funky blues… the two guitars fit perfectly together. Fine, highly melodic and swinging… awesome. (Glitterhouse)

Fine guitar-sparring between Snowy and Matt Taylor ensure the album’s appeal to lovers of the British blues. …a sound akin to Albert, Freddy and B.B. King. (R2 Magazine)

On par with the best… when White becomes one with his beloved Les Paul Gold Top, his music could hardly be more more authentic, soulful and heartwarming. (Rocks Magazine)

“…Woman Across The River”. Possibly the best version I’ve heard since Freddie King’s! ( BluesBytes)


Juan van Emmerloot (drums)
Matt Taylor (guitar, vocals)
Ruud Weber (bass, vocals)
Snowy White (guitar, vocals)


01. Blue To The Bone (Weber) 3.39
02. Good Morning Blues (Leadbetter/Lomax) 3.54
03. Simple (Weber) 4.46
04. Red Wine Blues (White) 5.05
05. Lonely Man Blues (White) 4.32
06. Long Grey Mare (Green) 3.27
07. In Our Time Of Living (Taylor) 8.19
08. Land Of Plenty (White) 6.16
09. Rolling With My Baby ((White) 4.44
10. I’m So Glad (James) 4.21
11. Walk On (Terry/McGee) 5.58
12. Woman Across The River (Crutcher/Jones) 4.57
13. I Want To Thank You (Taylor) 3.11
14. One Way Ticket (White) 6.53
15. World Keep On Turning (Green)3.24



Blues Trackers – Smells Like Trouble … (2011)

FrontCover1.jpgThe Blues Trackers started playing music in Larisa (Mount Tyrnavos to be specific)/Greece in 1996 and they are consisted of Panos Badikoudis (guitar/vocals), Tasos Litridis (guitar/vocals), Sakis Smarnakis (bass) and Thodoris Triantafyllou.

By then and until today they have swarmed Greece with lives, and have appeared in various European Festivals along side well respected artists such as Elias Zaekos and Louisiana Red to Dr. Feelgood. With 15 year experience in their hunch, it’s time for the bands debut release with original work – there was a CD with 6 love covers recorded in 2002. In this release, Marios Spiliotopoulos has replaced Sakis Smarankis in bass.

Smells Like Trouble is a blues record for the most part, but with touches of classic rock, folk and some bands that made a killing back in the famous “summer of love”. Three things that will catch your attention in this record are the delicate and meticulous production (made by the band members themselves), the dexterity and flawless performance by the members of the band, and last but not least, their general overview of the blues sound in circa 2011. The collaboration between Andy Moor and Giannis Kyriakidis show a different route for today’s blues.


The albums starts out with the album’s name track (in a “I Put A Spell On You” style), with a piano fueled intro which travels you to the dingy infamous and outlaw bars of New Orleans, like the ones you see in the movies. Right next is the Desperate Man, where the Dire Straits style and the desperate soul of a heart broken man meets the solos and liveliness of the earlier blues. If it only was written 40 years ago… Next up is Dream. Imagine H.P.Lovecraft merged with West Coast Pop Art Experimental Band to write a blues song. I think that’s how they would have done it. In “Mind Starvation” is easy to spot how many things they Blue Wires have passed to their descendants. Nice song and very groovy, with blues and funky elements. The fifth track of the album is the dreamy “The Dolphin Dance Part 2”, and if you happen to be a psychedelic fan from the circa 1967-1970, you will surely enjoy this one. It feels like digging out a hidden treasure from that era. Perfect for these summer car drives in empty streets.


Looking For Myself is an homage paid to Bob Dylan and Neil Young (the 70’s one-s). The atmospheric guitars and the harmonica will guide you there. In A Bad Condition, is another pure blues moment from the band. It sounds like whiskey taste. Jenny Star can be safely called the European way of playing the blues. Second to last is the Fake Fairy Tale: a contemporary example to show what guitar pop and folk music was all about in the 60’s. Slow paced. The album abides with The Dolphin Dance Part 1, which sounds like the Part 2, but fused with more dreaminess. This is where the title gets more meaningful: if dolphins can dance, this is how they would probably do it. (by Panagiotis Tzonos)

Okay … this is this fucking good, old and dirty blues-rock … and I guess it´s time to discover The Blues Trackers … worldwide !!!


Panos Badikouthis (vocals, guitar, piano)
Tasos Lytridis (vocals, guitar)
Sakis Smarnakis (bass)
Thodoris Triadafillou (vocals, drums, keyboards)


01. Smells Like Trouble (Badikouthis) 5.30
02. Desperate Man (Badikouthis) 4.14
03. Dream (Lytridis/Triadafillou) 4.19
04. Mind Starvation (Badikouthis) 4.05
05. The Dolphin Dance (Part 2) (Lytridis) 4.04
06. Looking For Myself Badikouthis) 4.27
07. In A Bad Condition Badikouthis) 4.21
08. Jenny Star Badikouthis) 3.37
09. Fake Fairy Tale (Lytridi/Beck) 4.35
10. The Dolphin Dance (Part 1) (Lytridis) 1.56