Our next guest contributor is Richard Bolwell; we’ll let Allan tell you about him. ‘I first met Richard at a Sound of the Sirens record launch in London and since then we try to meet up for a beer when he’s shooting a gig in town. Since that meeting he’s started up his own website MNPR Magazine packed with news, reviews of live and recorded music from all over the world and, of course, photos. He’s a cracking live music photographer and, in common with most people who have that vocation, is passionate about music. He’s also a bloody good bloke’. We don’t know if it demonstrates in-depth knowledge of their subject or it’s just showing off, but both Allan and Richard managed to shoe-horn Weissenborn guitars into their High Fives pieces.

I have a soft spot for the violin, especially when used in the crossover, upbeat Celtic Punk-rock/folk genre. This image is of Hannah Johns from the Weston-Super-Mare based band ‘The Leylines’ at the beautiful Carnglaze Caverns near Liskeard in Cornwall, a disused slate mine. Many of the images from the gig feature the beautiful surroundings of the ancient cave, but I was pleased to be able isolate Hannah and capture her in all her glory and in ‘the zone’.

My job as a concert photographer (and I am reluctant to call it a job because of the sheer enjoyment I get from it) takes me to many places, and leads me to cover many genres of music. This image of Nashville based country-blues singer-songwriter Austin Jenckes is typical of the style I have developed over the years. There is only so much you can do when the artist is a sitting down with just a guitar and his voice for accompaniment, but I feel this image captures the sheer emotion of the song, and the sheer force of his voice, another example of the artist being in ‘the zone’.

I am a huge supporter of new music, and up and coming talent, so let me introduce Charlie Louise, a young singer-songwriter from Cornwall. Charlie has the voice of an angel, and can silence a crowd with just a piano, or a guitar, and her voice. The nature of my work takes me to many a dive-bar, with less than favourable lighting. Whilst taking this image of Charlie, I was blessed with beautiful lighting, and was able to capture this image of the young songstress. Although there is no instrument present in the image, I feel the simplicity, and the negative space I composed in the framing adds to the overall feel of the shot. Charlie was performing as part of an ‘Introduces…’ series, and this image invokes great memories of a great evening of local talent.

This image is from the same gig as the previous Charlie Louise shot. As previously stated, the lighting was particularly good that night, but this black and white conversion really showcases the mood and atmosphere of the gig. The subject in question is Tom Bushin from Devon based alt-indie rock band The Kaizens who were playing a special gig with the Devon Youth Orchestra. Another reason for my love of the image is that it is reminiscent of the iconic Kurt Cobain from way back when.

Again, this tight headshot and use of negative space is indicative of my photographic style. This image of Wille Edwards was taken during his recent solo tour, raising money for, and awareness of, the homeless crisis sweeping this country. Edwards is the frontman of internationally acclaimed acid-roots rock band Wille and The Bandits and it’s rather rare to see Wille playing solo, let alone doing a full-blown solo tour. I had the pleasure of following Wille on this tour, and there were so many images I could have chosen from, 5 of which will be auctioned to raise money for his chosen charities. Again, as a singer-songwriter, seated during his performances, there are only so many angles and shots one can capture. Edwards has a strong, deep, husky voice, and this shows the emotion and heart he puts into every song and every note on his signature Weissenborn lap slide guitar.

DM001_Digi_LR_templateThe more I hear of Martin Harley and Daniel Kimbro, the more I realise how perfect the combination is; it was a good day for fans of real music when these guys first met up. Not only are they supremely gifted individuals, but when they play together the total is much more than the sum of the parts. Martin Harley’s developed a well-deserved reputation as a Weissenborn player, but this album constantly reminds you that he has a cracking blues/soul voice that puts him in the top division of singers in that genre. I don’t think Otis Redding’s too fanciful as a comparison, or maybe Frankie Miller if you want something a bit closer to home. And that’s just Martin Harley; Daniel Kimbro’s a master of his craft as well, plucking, bowing, rasping, slapping and generally coaxing some very interesting noises out of his stand-up bass while backing up Martin’s voice with some sweet harmonies. I don’t often look forward to bass solos, but I make an exception in Daniel Kimbro’s case. Every time.

The songs then; they must be the weak point, no? Afraid not; this isn’t just about showcasing some excellent playing, Martin’s writing’s spot-on as well, pulling in influences from all over the world and melding them into authentic twentieth-century roots music that includes love songs like the Southern soul-tinged “My Lover’s Arms” with its lovely guitar fills running through the song and even some honky-tonk piano, and the poetic “Postcard from Hamburg” with lines like ‘The sky’s crying diamonds’.

The honky-tonk feel of the album’s opener, “One-Horse Town” and the uptempo country blues of “Feet Don’t Fail Me” ease you gently in to the album with some lyrical and instrumental invention before giving way to the homesick blues of “Postcard from Hamburg” and the ominous, louring despair of “Gold” and its escape into a soaring solo. I could tell you more about the wizardry of “Dancing on the Rocks” and the claustrophobic atmospherics of “Mean Old City (Part 2)”. I could go on about how good this album is, how it’s a perfect combination of two players (and singers) at the top of their game, and about the great understanding they have and how I don’t understand why people aren’t raving about Martin Harley, but I have a better idea. Instead of taking my word for it, go out and see them on their tour of the UK, Europe and Canada (details on the Martin’s website). That’s better than any recommendation from me, and then you’ll definitely buy the album.

“Static in the Wires” is released in the UK on Friday February 10th on Del Mundo Records.

Martin Harley and Daniel Kimbro - 'Live at Southern Ground' - TitleI don’t know if it’s a coincidence or if this is going on all the time, but this is the second album we’ve reviewed in two weeks that was recorded live at Southern Ground in Nashville. Martin Harley, roots acoustic and slide maestro has teamed up with upright bass player Daniel Kimbro to revisit some of his own back catalogue and rework a few classics as well. Just to add a little pressure to the situation, they decided to record the whole album in a day. Now there are a couple of ways you can look at a project like this. You could see it as an easy way of knocking out an album without having to write any new material, but it’s obvious from the opening sitar-like slide and menacing bowed double bass of “Cardboard King” (from the “Mojo Fix” album) that this is the real thing; it’s two craftsmen giving a masterclass in acoustic blues arrangement and playing, and it sounds like they just happen to be having a lot of fun while at the same time. “Live at Southern Ground” also serves as a great example of the variety and dynamic range you can produce from two players and two voices, especially when they’re as good as this.

The non-originals on the album demonstrate Martin and Daniel’s interpretative abilities; “Goodnight Irene” is slowed down to an almost funereal pace with plenty of room for slide fills and raw emotional vocals while Tom Waits’ “Chocolate Jesus” is taken at an almost frantic pace and features a solo which build and builds to the point where you wonder how many Weissenborns Martin’s actually playing. Blind Willy Johnson’s “Nobody’s Fault but Mine” sticks much more closely to the original (well, a lot closer than the Zeppelin version). Of the songs from Martin’s excellent “Drumrolls for Somersaults” album, the lovely “Winter Coat” is taken at a slower pace and works well in a stripped-down version with perfect harmonies from Daniel, while “Honey Bee” becomes a fast country blues as a contrast to the original rockabilly version, and “Love in the Afternoon” has a greater emphasis on the Django Rheinhardt stylings than the original.

And then, when you think it’s all over (spoiler alert), check your time display (or just look at your vinyl) because there’s a hidden track. It’s a new take on “Blues at my Window” from the 2008 “Grow Your Own” album with Martin displaying his slide virtuosity while Daniel’s bowed bass moves from the growling, menacing bottom end up into the cello range to supply counter melodies. If you want a reason for making the album, this is it; there’s a song framework in place, but it’s all about the two players finding space to make their own creative contributions, and they do it to perfection.

“Live at Southern Ground” has all the intimacy of a live performance in a small venue. It’s a bit like looking through a crack in the door to see what musicians do when they think no-one’s watching or listening. Luckily, this time they decided to share it with the rest of us.

“Live at Southern Ground” is out on September 25th on Del Mundo Records (CD, Vinyl and download).