When a band places a bottle of Makers Mark rather prominently in one of their promotional photos and advertises themselves as a blues band, chances are, you’ll get no big surprises when it comes to the kind of sounds they make. For Dr Chris & The Redeemers, the big twist comes from their location. This band comes well versed in the Texas blues, but deliver their rootsy grooves and Stevie Ray Vaughan inflected riffs from the heart of Adelaide. In terms of all round authenticity, though, they hit everything absolutely square on. Their debut release ‘Devil In The Back Seat’ is a superb piece of blues, which doesn’t so much present itself like the sound of 2021, but a brilliant throwback to 1990.
When Little Thief appeared at the Ramsgate Music Hall on a four band bill towards the end of 2019, they played to fewer than ten people. Regardless of the sparse crowd, they gave the kind of performance deserving of a packed house. With only a couple of digital singles behind them at that time, the set was a great showcase for things to come. For the few people smart enough to be there that night, memories were made watching Rhii Williams approaching the drums in a really rhythmic yet heavy fashion, while frontman Charlie Fitzgerald cranked out fuzzy riffs as if his life depended on it. There was no doubt that Little Thief were destined for future greatness.
After Carter USM called it a day in the late nineties, James “Jim Bob” Morrison and Les “Fruitbat” Carter went their separate ways. Jim formed the short-lived Jim’s Super Stereoworld before embarking on a dual career as a solo artist and writer of novels, and Fruity formed Abdoujaparov, an indie rock band with punky undertones. Having parted on amicable terms, the USM men actually shared stages together just a couple of years later with their respective new outfits, on a double header tour that pulled in the fans. Looking back, it was an interesting time for both performers looking to forge new paths. At the 2001 gigs, Jim seemed uninspired, often delivering music that sounded like a shadow of his former punning self. For Les, the opposite seemed true and opportunity to explore new musical ideas with different people seemed to invigorate him. With energetic live performances and a very matey stage presence, Abdoujaparov were definitely going to be a band that the old Carter fans would take to their hearts.
Over the couple of years before the global pandemic forced everything into lockdown, UK blues rock band Big River found their profile steadily rising. The release of their debut album ‘Redemption’ showcased a band who were much better than their early singles – all huge riffs and overtly macho lyrics suggested – when mixing their grittier elements with a few more AOR-centric rockers and a couple of soulful rock ballads.
Enuff Z’Nuff have never been shy of digging up old recordings in the name of a new release. The band began their “patchwork” approach to making albums as far back as 1996 when their sixth release ‘Peach Fuzz’ was constructed from material that wasn’t considered suitable for their 1994 album ‘Tweaked’ and then fleshed out with a couple of b-sides from 1991. In the case of that album, the old-for-new approach could be easily forgiven, since all of the material was first rate. ‘Peach Fuzz’, against the odds, rivals 1991’s ‘Strength’ as EZ’N’s finest hour.