Storm Inside TitleOK, we should have got this out a little bit earlier but after a launch party for the album, which had a higher bodycount than the Leeds-Chelsea 1970 Cup Final replay (although the gig was more entertaining), and a deluge of albums being released at the same time, things got a bit congested. Anyway, we got there in the end and it was well worth the wait. “The Storm Inside”, the fourth Little Devils album, is the work of a band at the top of their game both as writers and performers. The band has built up quite a following on the live blues circuit in the UK and Europe with their unique sound and the energy and quality are captured well on “The Storm Inside”.

The foundation of the band’s sound is the rhythm section of Graeme Wheatley (bass) and Sara Leigh Shaw, aka the Pintsized Powerhouse, (drums); whatever the style or tempo, they do the business while still leaving the space for Big Ray (guitar) and Yoka (vocals) to do their bit. It’s a bit of an understatement to call Yoka a singer; she has a huge dynamic range, dealing equally well with the belters and the ballads but she has a few more weapons in the armoury. The first is that she plays saxophone, which isn’t unknown in blues bands and adds another lead instrument to the mix. The second is that she plays flute, which is very unusual in a rock context (unless you count Jethro Tull and Focus). Apart from having a bit of prog baggage, the flute works really well, its clear tones cutting through over-driven guitar tones very effectively to add an unusual texture to the band’s sound.

There’s a bit of a concept feel to the album as well, as it’s topped and tailed by storm-themed songs. The moody and atmospheric “Storm Warning” opens with slide resonator guitar and harmonica while the album’s closer “Heavy Weather” is a slow blues featuring Yoka’s flute. In between, you get another twelve tracks ranging in style from the traditional slow blues with a big guitar solo of “My Perfect You” (the first single from the album) to the Motown rhythms of “Stand”, featuring horns from Penny and the Pounds and the country blues of “Cold”.

It’s easy to see (and hear) why Little Devils are carving out such a niche for themselves with their live and studio work; they do all of the things that you would expect a good blues band to and then they sprinkle it with their own magic ingredients to create something a little bit special. Whether it’s a sax or flute solo, or even Graeme Wheatley’s growling vocal delivery, there’s always something a little bit different going on to set this band apart.

“The Storm Inside” is out now on Krossborder Rekords (KBR 2015/3).

Another one of the albums we’ve been waiting for this year is the new one from Little Devils. That’s coming out in a few weeks but, until then, we’ve got a little taster for you. “My Perfect You”, the first single from the album, is blues in the classic tradition, featuring a stunningly powerful vocal from Yoka and some paint-stripping guitar work from Big Ray.


We’ll tell you all about the album as soon as we get our hands on a copy.


There was a time earlier this year, when I was hobbling around with the help of a crutch, when I thought that I would have difficulty scraping together five gigs that I’d actually seen; how wrong was that? It’s been difficult to narrow this list down to five, so I think there might be a few honourable mentions as well. So, in absolutely no order at all are my favourite live shows of 2014.

Jim StapleyJim Stapley Band at 93 Feet East

Jim Stapley’s debut album almost made my top five albums, but there was absolutely no doubt about this live performance. Jim has a phenomenal soulful rock voice and he has pulled together a superb band to deliver the songs live. This was an album launch gig featuring virtually all of the album “Long Time Coming” (plus a cheeky cover of Rihanna’s “We Found Love”) and, despite atrocious weather and a half-full venue, Jim and the band gave it everything. The songs were strong, the band were cooking on gas, but what a voice.


Stone FoundationStone Foundation at The 100 Club

Towards the end of a very busy year for the band, this was an appearance at the annual Delicious Junction bash and another headline slot at The 100 Club with a set based solidly on the “To Find the Spirit”. All of the band members are great players but, despite the solos, this isn’t about individuals, it’s about the group; it’s the perfect combination of a locked-in rhythm section, keyboards and horns. It was also a chance to see how the new members Gareth John (trumpet and flugelhorn) and Rob Newton (congas) had bedded in. It’s fair to say that the horns sounded better than ever and the congas added a little bit of icing on the cake. It was a great set from the band and a stomping encore of “Jumping Jack Flash”. Enough said.

YokaLittle Devils at The 100 Club

Yeah, The 100 Club again and it’s blues Jim, but not as we know it; Little Devils are fronted by singer and multi-instrumentalist (sax and flute), Yoka. The rhythm section of Graeme Wheatley and Sara-Leigh Shaw (aka the Pintsized Powerhouse) built a solid base for Big Ray’s guitar and Yoka’s vocals and instrumental solos. The quality of the playing alone would put this gig up there with the best this year but this is also great fun; the band obviously enjoy themselves and the audience will always pick up on that. Great performances and big smiles all around the room; that’s a pretty good combination for a great night.

Federal CharmFederal Charm and Ian Hunter’s Rant Band

This was the final night of the Ian Hunter tour and the audience was in a party mood. It’s not the first time I’ve seen Federal Charm but they seem to get better every time. They got a huge cheer when they strolled on to the Shepherds Bush Empire stage and powered their way through thirty minutes of melodic blues rock featuring their powerful cover of “Reconsider” before making way for Ian Hunter. What a legend; played for two hours and kept the audience spellbound throughout, and the voice still sounds great. We even got an appearance from Mick Ralphs for the encore. Top night.

Gary BondsGary Bonds, Southside Johnny and The Asbury Jukes

Now this sounded like a great idea. 60s legend, and big influence on the Asbury Park scene teams up with Southside Johnny for a UK tour; I’ll even pay for tickets for that. Albany Down, despite a ten-second soundcheck, got the audience nicely warmed up for the main event which was a set from Gary Bonds (with some help from Southside) and a set from Southside (with a little help from Gary Bonds), both backed The Asbury Jukes. As ever, the superb musicians (Jeff Kazee, Tom Seguso, John Conte, Glenn Alexander, John Isley, Chris Anderson and Neal Pawley) fitted together perfectly and reacted instantly to any curveballs thrown by Southside. Seriously great players but they know how to have a bit of fun as well. They’re a great attraction as The Jukes, but Gary Bonds just tipped it over the edge.

It was incredibly difficult to narrow this down to only five gigs and there are a few more which deserve honourable mentions. I saw Vera Lynch three times (including their final gig at The Barfly in Camden and a gig in a Shoreditch shop window), The Kennedys and Edwina Hayes at Green Note and Dean Owens and Black Scarr on Eel Pie Island and all of those were great nights. Here’s to many more in 2015.


The next contribution is from Little Devils. They do a lot of touring around the UK and Europe and bass player Graeme Wheatley has shared some of the more surreal things that can happen when a bunch of musicians are on their travels.

theprioryhotel[1]February: Dover Priory

A venue that appears to be part of a David Lynch movie. The gig was as wild as ever – the audience barely human by the end of the night. The lovely but completely incomprehensible landlord, Eric, said something like “Your room is a bit cramped and the door doesn’t lock properly” I expected nothing less. In true David Lynch fashion, I probably expected worse – and so – it was no surprise when I went up to bed several drinks later – that I found I was in a storage cupboard. The drinks had had their effect and so, finding a mattress that was at least on something of an angle less than vertical – I hit the sack. 15 minutes later, the homicidal maniac from the movies burst thru the door and said something like “What the fuck are you doing in here? Your room is next door – this is the cupboard!” Fortunately, Eric is the soul of discretion and has only told every single musician who has played the Dover Priory since this happened.

TrambluesJune:Tramblues Festival Antwerp

We were met by the host and introduced to a lovely person called Vee who explained that she was there to look after us for the whole of the evening and that, in true Belgian style, all food and drink was free for the entire evening. Being the true professionals that we are, nary a drop of alcohol passed our tightened lips pre-performance. However, post-performance is another thing – and the Devils went for it! Big time at the festival and then at the after festival party – way into the wee hours. At around 4.00am we were sitting outside of the party taking the air and trying not to fall over from a seated position, when the host re-appeared with the wonderful idea that the Little Devils could close the party with a wee jam session!!! All we can say is thank God the audience were in a similar state and no one had a camera!

MaryportJuly: Maryport Festival

Just prior to setting off for the festival, Ian, the organiser, called to ask if we could squeeze in an extra show. Money talks – so we readily agreed – the extra payment meant we could eat! What we didn’t quite realise was there were now 3 gigs on one day followed by a fourth on the day after. Each gig on the Saturday was incredible – the audiences really carried us along on a wave of frothy bluesy enthusiasm and energy – each gig we raised the roof and played til the money ran out! A knackered bunch of Devils crawled into tents at about 2.00am after playing for around 9 hours. Next morning we jumped up and prepared to launch ourselves once more into the fray – but – there was a problem. Somewhere along the way, Yoka had left her voice behind! 9 hours of bluesy belters and raunchy rocking had taken its toll – there was nothing there. We ladled honey and paracetamol in generous doses into her and poured port and brandy onto the broken larynx – and the show went on. We managed to make the last gig and a great time was had by all – even if some of the songs were more instrumental than usual!

JimiOctober: Isle of Wight Weekender

We played an acoustic set in the afternoon which somehow managed to set off the fire alarm – but this didn’t dampen spirits, and the evening set went down a storm. We finished the final number and the drummer had no choice but to make a swift dash for the loo; so as not to keep the audience waiting, we started part one of the encore without drums for the first verse or so. Or so we thought. First verse came and went. Ditto chorus. Then the second verse and chorus and still no drummer. Eventually, young Alan appeared and tore through the crowd to manage to get back for the middle 8 – he had been imprisoned in the loo by a couple of members of the audience who, with the assistance of a lot of alcohol, had decided this was a great prank. They reconsidered after getting the evil eye from Big Ray!

The Hope TavernNovember:The Hope Tavern

We arrived in Market Rasen as the gentle folk of the town were quietly enjoying their Sunday lunches. Barely a murmur broke the pleasant afternoon atmosphere and we too picked up on the sentiment and quietly got our lunches and sat down to enjoy the pre-gig feast. “Anyone say Grace?” I innocently asked. “Thank Fuck for Food!” said the angelic Pintsized Powerhouse in a loud and clear voice….. There was a prairie tumbleweed moment amongst the good people of Market Rasen – fortunately followed by laughter!


About TimeOf the original 2010 line-up of Little Devils, singer Yoka (who also plays some very nice sax and flute) and bass player Graeme Wheatley are still with the band, joined by later recruits Big Ray (guitar) and Sara Leigh Shaw (drums and backing vocals) to complete the 2014 version.  “About Time” is a seven-track EP showcasing the band’s current material and, partly, creating a comparison with their earlier work.  All of the playing is high quality throughout, but it’s Yoka’s superb voice which really sells the songs, from the uptempo belter, “The Waiter”, which appears here in two versions, the older version with harmonica and the newer version with sax, to the slow, powerful ballad, “Another Pack of Lies”.

Two tracks in, listening to “Good Times” (which evokes Springsteen’s “Spirit in the Night”), you could be forgiven for thinking that this EP would be full of fast blues/rock party songs with powerful vocals but the third track, “Hang my Head” disproves that theory both musically and lyrically.  It’s a slow/mid-tempo relationship song with clean guitar arpeggios, a nice sax solo, and a lead vocal which proves that Yoka is much more than a blues shouter.  “No Love Lost” is mid-tempo and funky with a flute solo to add a slightly different texture.

Walking Disaster” brought back memories of Marianne Faithfull’s “Why’d Ya Do It?” from her classic album “Broken English”.  It covers the same lyrical territory, but Yoka’s vocal on this track also captures the same cracked intensity as Faithfull’s vocal.  “Another Pack of Lies” is a standout track, a slow song which builds from a quiet intro to a big finish with perfect vocal harmonies.  The song’s theme is social injustice and exploitation viewed from various perspectives and it works perfectly as a contrast to songs like “Good Times”.  The EP finishes with the earlier version of “The Waiter” and I’m not sure if it’s a valuable addition or not; decide for yourself.

I’m pretty sure that the “About Time” EP (with its very clever retro seven-inch packaging) is intended as a showcase for Little Devils; if that’s the aim, then it’s a success.  The songs here cover a broad spectrum from slow-tempo social comment to uptempo fun and the addition of Yoka’s saxophone and flute creates new textures and possibilities for the band.  This is a thoroughly accomplished piece of work from a studio band but, on the strength of this, I can’t wait to see them live.

Released February 20, 2014.