Reviews

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