Reviews

David Dee (from East St Louis)                13th December 2008

"Last night I witnessed what surely must have been one of the greatest emotionally drenched performances ever to have hit a British venue."                                                                              
 
"...Only in this third segment of the set did I recognise some standards, by which  time the audience quietened down a little after all the shouting, screeching and hollering. I had fully expected somebody to fling themselves on to the floor in writhing ecstasy, and even this would not have surpassed David Dee's almost three hour performance. At times burying his Flying V into his crotch and being rhythmically egged on by the band, he continued to twist and turn his "shaft" to vocal appreciation of the audience. This visually was only matched by David's apparent appetite for a fret board lunch, licking the strings and gnawing with his teeth. Most of the time his face was contortioned (sic), with eyes closed as if in deep pain, or again was it... ecstasy? Then a sudden release of the tension and now moon walking away from the mic', leaping up and down, pivoting, slowly collapsing to his knees and winding back up again with his axe revolving in circles."
                                        
"The Dave Thomas Band provided an un-intrusive sympathetic back drop, merely enhancing each stage of the emotions played out before them and us. Dave was given opportunities to take up lead, and at times David Dee seemed in awe of James Goodwin, the piano man, judging by his smile. The American John Higgerson, lead guitar and musical director, offered up searing guitar runs filling in David's strings stroking and caressing style. Drums and bass drove the tempo and dropped the crescendo without falter."

Ken Major – The Woodies R & B/ R & R/ Blues / Soul fraternity


Shor'ty Billups                        16th February 2008

"Flying in from Boston, Mass, especially for this one off Shakedown performance he teamed up with the excellent Dave Thomas Band to work his way through his back catalogue of original material plus covers of standards by people with whom he had worked over the years.

The band cooked behind him throughout as though is was just a regular Saturday night gig, with the brilliant pianist Jamie Goodwin together with Stewart Aitken on bass and Ricky Martin's ex drummer Carlos Parlato following Shor'ty's every move. Dave Thomas opened each set with two or three numbers, sometimes with Jamie on the piano other times with the full band. For the remainder of the time whilst Shor'ty was on stage he played guitar intuitively never getting in the way and as with 'Sky is Crying' was at times startlingly inventive."

Blues in Britain   Dr Richard Cartmel Issue 76


Joe Jonas                        Stamford   5th October 2007 / Castor VH 6th October 2007

"Joe's harp playing was good, but his strong voice and charismatic presence on stage set him apart from the pack. The song list was covers peppered with self-penned numbers-rather than the other way round-but like B.B. King they all came out sounding fresh and exciting."

"A big plug for Dave Thomas with James Goodwin on piano opening up each set. As the sets progressed this duo format just got better and by the time they tackled Jimmy Roger's 'That's Alright' in Charles Brown fashion (Dave said he picked it up from Mose Allison!) most of us were agreed that we could listen to them all night. Then of course was the band itself with Stewart Aitken on bass, Carlos Parlato on drums and Laurie A'Court on sax- all of whom were tight, restrained and just perfect! The audience left having given both nights a standing ovation and clutching CDs."


Little Willie Littlefield                    Castor VH 26th May 2007

"For his second Shakedown performance Willie stamped his feet and pounded the piano to fine versions of, amongst others, 'Chicken Shack', 'Kansas City', 'I Can't Help It', 'Gone Fishing', and the dreadful 'Spanish Eyes'. If he had worked his way through the telephone directory none of us would have cared. Two wonderful sets left the audience drained but happy by this larger than life 'great ball of fire'."

Dave Thomas had the unenviable task of being the support act sandwiched between Willie's sets. Dave was a little tentative at first (this was the first time he had played solo for at least 40 years) but as the set progressed he became increasingly confident. He has a good voice, excellent timing, lovely guitar work and a genuine feel for the music. I loved his 'Cruising in my Subaru'. We will see him with his band later on in the year backing one of our 'Downhome' artists.


Gerard Homan  Shakedown Blues

I'm pleased to report that Dave Thomas is a real breath of fresh air. Recorded live at Norwich Arts Centre (the audience are quiet though!), he plays 'real'blues numbers (including covers of songs by Otis Spann, Jimmy Reed, Elmore James, B.B. King and others) with respect and obvious love for the tradition. Guitar solos are kept concise with no rock outbursts and he has in his band a superb pianist called James Goodwin who's as good as anybody I've heard on the UK scene.

Highlights are a superb vocal and piano take on 'It Must Have Been The Devil', a B.B. styled 'It's My Own Fault' and an excellent reading of Doctor Clayton's 'Hold That Train Conductor',

As you can see, I liked this CD a lot, strongly recommended to anyone interested in checking out one of the best outfits on the British scene."

Reviewer: Phil Wight (Blues & Rhythm Magazine)

His two-fisted piano work is quite outstanding throughout; whether it's on a slow blues (Roosevelt Sykes 'West Helena Blues' or Jimmy Oden's 'Going Down Slow') or up-tempo numbers (Spann's own composition 'It Must Have Been The Devil' or Memphis Slim's old warhorse 'Every Day I Have The Blues').

However, anyone needing any more convincing should give a listen to Thomas and Goodwin's reading of Jimmy Cotton's 'Cotton Crop Blues' or Spann's 'Good Morning Mr Blues', Goodwin's piano playing is a joy to behold. This CD definitely makes it into my top ten for 2005 and it's going to take something special to oust it, strongly recommended to blues piano fans everywhere."

Blues and Rhythm Magazine. Reviewer: Phil Wight

Black Dog Boogie and Blues for Otis

Fans of the blues like us frequently have to address the problem of cover versions. Of what value are they? Indeed, I once had a dispute with a Guardian critic on this very subject. Apparently, Buddy Guy's propensity to perform the work of others disqualified him from entry into the top string of blues performers. This inspired me to call the reviewer a myopic philistine. Well, it didn't, but I wish it had'

Listening to Dave Thomas forces one to confront this subject afresh ( or perhaps that should read a-reheated ). His songs aren't original, indeed not even the interpretations are original, but they sure taste good. But how good?

Playing BB King note-for-note guarantees you're going to sound good but you're still a cheap knock-off. At the same time, however, you can't exactly turn your nose up at someone who can play The King of the Blues note-for-note, particularly when your head is enthusiastically rocking back and forth.

So perhaps I should stop worrying about the significance of the cover version and instead reveal whether or not these releases merit your attention.

Both albums are entirely composed while standing on the shoulders of giants. Regardless, they don't simply merit your attention, they positively command it, and from a great height at that. Pianist, James Goodwin provides the alcohol in this blue cocktail. And a heady cocktail it is too.

Blues In Britain Magazine