Sari Schorr - Live In Europe

Live In Europe, eh?  There’s a title to conjure with.  It's perhaps not the best idea for any blues rocker to invite comparisons with one of Rory Gallagher’s stage-striking offerings.  But happily, while I’d never expect them to reach the heights of the check-shirted one, Sari Schorr and her gang do acquit themselves pretty well.

It helps of course, that Schorr enrolled some crack musos in the enterprise, and when they get a groove on they make a big, fat, punch-packing sound that’s captured with admirable clarity by the mix.   So when they get to grips with some quality songs, with Schorr’s powerful, dynamic vocals hitting the mark, the results are more than satisfying.

Take ‘Demolition Man’ and ‘Ain’t Got No Money’ for example, both from her first album A

Sari Schorr - powerful, dynamic, and suitably sassy

Force Of Nature.  The first of these is a loose-limbed, swinging chunk of soulful bluesiness that suggests Whitesnake in their pre-1987 heyday, with Stevie Watts’ organ tootling away in his typical Sixties Booker T fashion, Ash Wilson getting down to some seriously bluesy guitar wailing, and La Schorr herself delivering a suitably sassy interpretation of the lyrics.  The latter is mildly funky, with Roy Martin’s drums slipping in perfectly behind the beat while Mat Beable’s bass bubbles away augmenting the groove, and Wilson scatters spiky guitar licks and accents around.  Schorr again captures the mood of the song perfectly with her vocal, and Wilson peels off another grabber of a solo for good measure, full of wiry tension.

This is the kind of the vibe that they excel at, and there’s a goodly proportion more of it that I’ll get to in a minute.  What does it for me rather less is the glossy Diane Warren/Desmond Childs AOR strand in her writing.  That kind of stuff was all well and good in its 80s/90s day, and Schorr’s songs ‘Turn Your Radio On’ and ‘Back To LA’ are serviceable enough, but to my mind they’re not on a par with the rest of the material served up here.

So let’s eliminate the negative and accentuate the positive, and say that their strutting, swaggering, ten-minute take on Muddy Waters’ ‘I Just Want To Make Love To You’ is a cracker, all the way up from its tush-shaking-beat-and-pulsing-bass roots.  Wilson’s fuzzy riffing builds the mood early on, and Schorr’s vocal is all-woman assertive until the band drops out for her to deliver the title line in breathy, slinky fashion.  Watts and Wilson get plenty of room to shine again, the former venturing hither and yon with great tone, and the latter getting imaginative in an outing that carries the odd whiff of Ritchie Blackmore before entering into squealing wah-wah mode.  All told it’s fresh and funky and lip-smackingly good.

They can rock plenty too, as on the brooding verses and fierce choruses of ‘Damn The Reason’, the intense chorus and tough riffing of ‘Thank You’, and the uptempo ‘Valentina’, on which Schorr whacks it out like Maggie Bell over drum-tight backing that includes spot-on harmonies and pounding bar-room piano.

And then there’s ‘Black Betty’.  A work song so old it pre-dates the twentieth century, never mind the frothy 70s Ram Jam version, it opens with Schorr crooning moodily over pinpricking guitar notes, before breaking out into snarling, raging vocals and crashing guitar chords, over mountainous foundations.  It’s Sari Schorr’s tour de force, and this rendition does it justice.

To help you come down after that, there are a couple of acoustic tracks recorded for the BBC tacked on at the end, bonus track fashion, in the form of ‘Ready For Love’ and ‘King Of Rock’N’Roll’.  Both are good, but the first is totally on the money, delivered by Schorr like she’s a female doppelganger of Paul Rodgers, over perfect, delicate piano and gently strummed acoustic guitar.

Live In Europe might have been better if Sari Schorr had another studio album under her belt on which to draw.  But it captures the live experience of a bloody good band and a powerhouse singer who know what they’re about.  It may not be a classic, but it’s vibrant and entertaining and it gets the job done, often with a bit of panache.  Can’t say fairer than that.

Live In Europe is released by Manhaton Records on 6 March.

Tour dates in Europe and Britain, starting on 6 March, can be found here.

Sari Schorr - Never Say Never

Sari Schorr’s theme song should really be something like ‘Gypsy Roadhog’, because the woman seems to be in perpetual motion. Even the making of this second album seemed to take in a few locations before settling into The Grange Studios in Norfolk.  But there are no signs of fatigue on Never Say Never.  Far from it.  This is an adrenaline-fuelled set, full of ideas both musical and lyrical.  So strap yourself in for the ride.

The intro to opener ‘King Of Rock’N’Roll’ is deceptive, a Dire Straits-ish bit of mood music that blends brooding guitar and tinkling piano until all concerned shake themselves into action, and Schorr weighs in with a husky vocal.  It climbs into a rousing chorus, and Ash Wilson gives it plenty with a scorching guitar solo and more fills besides.

Ash Wilson and Sari Schorr - fireworks abound

Pic by Rob Blackham

And right there you have the twin engines that will power this album into your consciousness, in Schorr’s powerful, versatile vocals and Wilson’s fizzing guitar work.  Oh, there’s plenty more besides, in the form of quality songwriting, the tight but flexible rhythm section of Mat Beable’s bass and Roy Martin’s drums, and the colour added from Bob Fridzema’s keyboard palette.  But there’s no getting away from the Schorr/Wilson axis – and believe me, you won’t want to.

‘Thank You’ features a squelching wah-wah intro, and supercharged guitar chords and organ on its pre-chorus, with Schorr delivering catchy ascending vocals in the chorus itself. It makes good use of dynamics, and Wilson gets mightily stuck in again with a solo.  Then they cool things off with a reading of Bad Company’s ‘Ready For Love’ that respects the original but adds its own seasoning.  It’s a perfect fit for Schorr’s blues rock tendencies, and her ability to be sensitive as well as towering.  There’s a nice interweaving of guitar and keys to deliver the signature theme, and Fridzema delivers a delicate, halting piano solo ahead of an elegant, dying fall to close.

‘Valentina’ and ‘The New Revolution’ display different faces of Schorr’s wordsmithing skills.  The former features a narrative about a lonely woman “living in a trailer by the sea”, and is a no-nonsense, straight-up rocker with a gritty riff, another impressive solo from Wilson, and full-on vocals from Schorr.  The latter convincingly expresses Schorr’s political ethos with a

Sari Schorr unleashes a vocal tsunami

Townshend-esque lyric, set to a curious amalgam of a taut, Stonesy riff, like a slowed down ‘Jack Flash’, and a melody on the verse that brings to mind Robbie Williams’ ‘Let Me Entertain You’ of all things. Whatever, it works.  And later, penultimate track ‘Freedom’ plays a similar lyrical card, with a literate rant laden with irony about the agenda of “bible and gun” as it whips up a righteous storm.

At the mid-point of the album, ‘Beautiful’ ushers in  a shift towards Diane Warren-ish AOR territory on some of the remaining songs, on which Schorr’s resonant voice takes on a remarkably Cher-like complexion at times.  ‘Beautiful’ itself is a ballad with a low key opening, and piercing guitar from Wilson as he adds another couple of well-pitched, emotive solos to the mix. ‘Turn The Radio On’ is musically in a more upbeat vein, although a tale of relationship pain and envy, with Schorr unleashing her voice on the chorus, while ‘Back To LA’ has a sunny feel, and a strong hook, over a snapping snare drum from Roy Martin.  Meanwhile Schorr’s vocal reaches tidal wave proportions at times, to the point where you could imagine ‘If I Could Turn Back Time’ being next on the track list. 

In and around these big, glossy affairs, ‘Maybe I’m Fooling’ seems a bit slight, though it’s still appealing enough with its bumping rhythm and catchy chorus.  But the aforementioned ‘Freedom’ raises the roof again, with both Fridzema and Wilson letting rip, before Ian McLagan’s titular ‘Never Say Never’ rounds things out in restrained and soulful fashion – maybe a more downbeat conclusion than ideal for me, but still a strong song, with imagery that’s a good fit for Schorr’s style.

Never Say Never is an album that will grab you by the scruff of the neck and not let you go. I may prefer the blues’n’raunch side of it to the slicker, more constructed later songs, and I’d have liked a pinch more of the funkiness evident on A Force Of Nature to be added to the recipe somewhere.  But it is, quite simply, a bang-up job.  Schorr’s commitment to her material is absolute, the guitar fireworks from Ash Wilson are often stunning, and the musicianship from all concerned is top drawer.  And guess what, the album’s not even out yet and the gypsy queen is back out on the road. Go see her and enjoy this stuff live.

You can find Sari Schorr's tour dates here.
Never Say Never is released by Manhaton Records on 5 October.

The Blues Enthused Christmas Stocking 2017 - Part 1

So this is Christmas, and what have we done?  Another year over – and it’s been a pretty good one on the blues’n’roots’rock’n’rollin’ front.  It’s been a year of discoveries too.  Not necessarily all new artists by any means, and not all written about here either, but people I’ve tripped over the first time. Let’s unwrap some of the new finds Blues Enthused made in the course of the year, shall we?

Simon Campbell unwraps some 60s British blues - 21st century style

Just to prove the point that there are old timers out there you can still get acquainted with, I had fun reviewing the latest album by Washington DC’s The Nighthawks for Blues Matters magazine.  All You Gotta Do is a pretty damn enjoyable collection of old-fashioned R’n’B from a gang who’ve been around for god knows how long.  Check out this footage of ‘Livin’ The Blues’, from their earlier album 444.

Simon Campbell has also been kicking around for a looong time.  But in the company of his missus Suzy Starlite, he put together new outfit the Starlite Campbell Band to release one of my favourite albums of the year, Blueberry Pie.  It’s a crackling modern take on Sixties British blues, with strong songs, great guitar work, and sharp lyrics.  Lend an ear to these snippets of tracks from the album, and see what you think.
Just to complete a trio of oldsters, while I was on Blues Matters reviewing duty I also encountered James Litherland, once upon a time guitarist and vocalist in Colosseum.  His latest album Back'N'Blue is a classy collection of tunes showing the songsmithery of an old pro.  Often cool and funky, with clear, looping guitar lines snaking around your ears, he also weaves in some other styles with ease, and whenever I give the album a spin it's a treat.  Here he is wandering around the music shops of Soho, and going for a pint in the Angel pub - good choice by the way - to the strains of his single 'Can't Live Without You'.  Oh yeah, and there's Les Binks, once of Judas Priest, on drums!

I’ve also been introduced to a couple of truly solo performers, of the one-man band variety.  Latterly there’s been Canadian Steve Hill, who manages to get all Zep-tastic with guitar, cymbals and kick drum, all on his ownsome.  Here he is giving it big licks on ‘Dangerous’, from his album Solo Recordings: Volume 3.  And earlier in the year I reviewed High Dollar Gospel, the latest album by a fella from Virginia called Eli Cook, for Blues Rock Review.  In

Sean Webster - naturally soulful

the review I wondered why I hadn't heard of him before.  But bizarrely, I think I may have caught a bit of Cook playing live a few years back, late night in a bar in Charlottesville, Virginia.  I gather he does play with a band on occasion, but he was on his own that time, and he’s on his own here with this version of ‘Catfish Blues/Gasoline’.

Nearer to home, I reckon the newcomer making the most impact on record this year was Ash Wilson, with his album Broken Machine.  Wilson didn’t just announce himself with some bloody good soulful blues, served straight up, he chucked in a few twists of Josh Homme-like stylings for good measure.  You can also read here about how a rather iffy synth gave an edge to the title track of the album.  Wilson has ended the year taking over from Innes Sibun as guitar honcho for Sari Schorr, but here he is playing his own haunting tune ‘The Hitcher’ in London back in August.  And yes, those are indeed Bob Fridzema, Roger Inniss and Wayne Proctor making up his band.

Ash Wilson also described how he’d played previously with Netherlands-based Sean Webster, and spoke enviously of Webster’s aptitude with an emotional, soulful vocal.  By complete coincidence, it turned out Webster was the support act to King King on a jaunt I took to the Netherlands back in February, so I swiftly had the chance to catch him live

Elles Bailey - the kid shows promise

before reviewing his impressive new album Leave Your Heart AtThe Door.  Here he is performing one of my favourites from the album, ‘I Don’t Want To Talk About It’, with guest vocalist Pennyleen Krebbers, who also featured on the album version.

And it wouldn’t do to end this instalment without a contribution from the fairer sex – in this case the up and coming Elles Bailey.  The husky voiced Bristolian’s album Wildfire showed real promise, and she and her band lived up to that promise live too, straddling roots genres to good effect.  Here she is with a stripped back take on one of her best songs, the Janis Joplin-inspired ‘The Girl Who OwnedThe Blues’, from a Whispering Bob Harris session.

That little lot should keep you entertained for a while when the rest of the family decide to watch some rubbish Christmas telly.  Look out for Part 2 before the leftover turkey is finished!

Don't miss out on Part 2 of the Christmas Stocking.  Check it out here.

Blade Runner Meets The Blues - Ash Wilson interview Part 2

We closed Part 1 of the interview by discussing Ash Wilson's tussle with the emotional vocals required for the good old-fashioned smouldering soulful numbers on Broken Machine.  Less traditionally though, there are quirky aspects to some of the opening tracks on the album – like, I suggest, the snippets of synthesizer on the title track.

“The synthesizer’s an interesting story," is his response.  "I had a part-time job in a little piano academy, and they had a bloke come in and donate a load of stuff, and the lady who ran the place didn’t want any of it.  So I got this old 1980s Korg organ-string synth out of it, which I think is a similar one to what Vangelis used when he did the soundtrack to Blade

Ash Wilson auditions for guitar modelling work

Runner, it had that sort of sound to it.  So I played it to my brother and said ‘Look mate, you can play the Vangelis thing’.  And he said, ‘We’ve got to play this thing on the album.’  And I’m like – ‘Come on, this sound and our record?  How’s it going to work?’  So Phil took it home with him, and came up with this synth part that’s on the title track, in the chorus.  There’s this low end thing, and a little melody that sort of skips away in the background.  He put it on the title track for a joke, and sent me it, and I thought it was really funny and was like, ‘Yeah, wicked man, take it off though’.  So he took it off, and the pair of us were like, ‘Oh, I think it was better with it on!’” he laughs.

It helps to create a sense of alienation though doesn’t it, I suggest, that Blade Runner-ish sound going with the ‘broken machine’ metaphor?

“Yeah definitely!” Wilson agrees.  “That’s kind of how we sold it to ourselves, because at first we were like – no-one in their right mind would put an organ synth on a blues album!  But then we started talking about this whole ‘broken machine’ thing – I’d got the lyrics by this point, and I was ‘well actually mate, it kind of contextually makes sense, because this thing isn’t working right!’”

All of which leads me to observe that the Wilson boys had learnt something about the different sounds that they could pursue.

“Yeah, for sure.  You don’t need to just stick to guitar, and bass and drums.  If you’re trying to create an interesting thing to listen to, and an interesting thing to sing over as well, from my own point of view as a vocalist the music inspires you a certain way, and if the music pushes you in a certain direction then – it’s that honesty that I was trying to get across.”

If by now you’ve picked up the idea that younger brother Phil Wilson was a key component in the development of Broken Machine, then you’d be right.  He not only plays drums, he’s credited with producing and mixing the album – and as a co-writer of the material.  He may be the junior partner in years, but since the age of 16 Phil has been on the road with guitarists like Scott McKeon and Jesse Davey – much to the chagrin of his older brother, who explains how their musical relationship developed as a result.

Phil Wilson - it's a family affair

“I’m ‘Oh man, you just keep playing with these people, that I’m not even fit to stand in the same room as!’  So what that did create was first of all a respect for my brother, because he’s operated on a totally different level, and also because he’s my brother I’m really happy to play things I can’t play in front of him, and sound really bad on the journey of trying to find something that sounds really good.  Because he’s my brother, and it doesn’t really matter.

“So I’ll come in with ideas, and play them to Phil, and he’ll go ‘Have you thought about doing this?  Have you thought about doing that?’  And generally I’ll go ‘No. That’s a really good idea, let’s do that.’  What’s really cool is Phil has no knowledge of harmony, so he can’t tell me what chord to play or what type of chord to play, or where it needs to go – so I have to find it.  So we have this bizarre relationship where I generally bring the ideas, and he says things that then create new ideas.”

As Wilson says, it’s a relationship that works for him.

“It works really well, because I can write songs myself, but there’s a certain sound when I write with my brother, and that why I’ve always said ‘We wrote this together’.  Because he pushes me in a different direction, and makes me sound not like me any more, and I can’t do that the same way without him.”

Just as the album came to completion though, Phil got the call from Laurence Jones, and so is otherwise engaged as Ash Wilson starts to take Broken Machine on the road.  Roger Inniss has signed up full-time however, and the breaking news is that he’s now joined by Russ Parker on drums (formerly with Scott McKeon – those connections again!) to form the trio that will be the Ash Wilson Band for 2017.

“There’s a long term plan,” says Wilson, “of trying to get it so that there’s a formidable unit and it’s a regular unit.  And Rog and I have got a few things up our sleeve.

“I’m quite restrained on the album with my guitar playing,” he adds.  “I don’t really go bonkers.  But live I have the facility to be a little bit more exciting with my guitar playing, so I think that’ll be one element where hopefully people who are into that will say, well the album’s great, but live he does all this other stuff with the guitar.”

Broken Machine comes out in April.  The road beckons.  Either way, make a point of catching Ash Wilson.  In the meantime, you'll have to make do with the video of the title track - 'Broken Machine' itself.

ICYMI, check out Part 1 of the Ash Wilson interview - 'Scratching The Itch'

Broken Machine is released on 21 April, and can be pre-ordered from Amazon.
Check out Ash Wilson's forthcoming tour dates.

Scratching The Itch - Ash Wilson interview Part 1

“Basically, every plan we had didn’t work out,” says Ash Wilson.

The recording of some albums may go like clockwork.  Bish bash bosh, in and out of the studio on schedule.  Done.  Others are a matter of evolution, and so it was with Ash Wilson and the making of his debut album, Broken Machine, as I discovered in the course of a wide-ranging chat with the Skegness guitar man.

At the age of 32, Wilson had played in tyro blues band The Melt in his late teens, been a full-time teacher, worked part-time in a piano academy, and most significantly, was now a year into playing guitar with gritty soul-rocker Sean Webster.  But in 2015 he found himself at a crossroads.

“I was spending time away from home,” he explains, “and I have a young daughter, and I thought if I’m going to be away from home I should be doing what I really want to do, rather than something that I’m into and I love doing.  The social side of Sean’s band was really great, and Sean’s a great guy, and I enjoyed playing his songs, but I think I’d got a bit of an itch that I needed to scratch.

Ash Wilson - "How does that 'Thrill Is Gone' thing go again?"

“So this album started off as a side project, very much.  It was like I’ll keep playing with Sean and then I’ll do this little album in my spare time when I’ve got a chance.  And then it became a bigger thing, and it got to the point where by the time I was three-quarters of the way through I thought, well I really just want to work on this now.”

By that stage though, the album that was emerging was rather different from his original conception.

“When we went into the studio,” he says, “the aim was to record a really traditional kind of Jimmie Vaughan sounding sort of thing, a band in a room, a very lively sounding album, not many overdubs, everything was going to be a 12 bar.”

The ‘we’ in this comment includes Wilson’s younger brother Phil, currently drummer to Laurence Jones and Wilson’s collaborator-in-chief.  And given some of the brothers' collective music experience it may have been a bit short-sighted to believe a straight-ahead blues album was in the offing.  For a start there was their parental influence.

“My parents,” says Wilson, “although they’re not musicians, they were really into music.  So my brother and I were brought up on, not particularly bluesy music, it was more progressive rock really, like Genesis, Pink Floyd, bands like that.”

These weren’t the directions Wilson took with the guitar though, after getting started with it in his early teens.

“Dave Gilmour, when I was 13 or 14 years old, was just too far in front of what I could imagine you could do on a guitar.  So I got into bands like Oasis and stuff like that first of all, because it was chords.”  And after The Melt split up, “I went off in another direction really, and for a long time I was playing indie music and alternative rock music.”

Little wonder then, that the first attempt the Wilson brothers made at recording together had been in a genre slightly at arm’s length to the blues, with a 2014 project they dubbed Infamous Vampires that resulted in an album released on iTunes.

“The Infamous Vampires thing – I suppose it was really a blueprint for this album,” says Wilson, “because it was something we did at home, and it was very much in the vein of bands like Queens Of The Stone Age and bands like that.  We’d both love to be in Queens Of The Stone Age, but obviously there’s not really much chance of that happening, so we just put our own version of it together really!  It was a really fun album to do, and if you were ever to listen to it I think you’d hear elements of what’s in this album – it’s not like a heavy rock, thrash thing, it’s sort of rooted in that blues thing again, but very much more on the rock side of it.”

This time around though, they weren’t planning on home recording.  They’d booked studio time, and finding Wilson’s long-standing bass playing buddy Greg Smith (also now with Laurence Jones) unavailable, they had to look elsewhere.

“We’d worked with Roger Inniss before, with Sean Webster,” says Wilson.  “So to me it

Roger Inniss - something wicked this way comes!

made the most sense to ask Roger, first and foremost because he’s such a good player, and we didn’t have much time booked in the studio.  But also he’s very cool, he’s wicked, and that’s really important if you’re trying to capture a moment, you want everybody to be in a good mood, because I think that really comes across in your playing. And it did, but what manifested itself instead of a 12 bar blues album was what you’ve heard, which wasn’t necessarily the idea, but I’m glad it came out the way it did.”

Not that the studio sessions with Inniss got the job done, of course – remember that plan that never worked out?

“We came out of the studio with the majority of the backing tracks and no vocals, because we just ran out of time” explains Wilson.  “So we had to finish the album at my parents’ house, in their spare room.  In fact all the vocals were recorded in an airing cupboard, with me surrounded by towels and duvets!  So we did the main part of the recording, and then we started doing the vocals, trying to find the songs within the music we’d created.  And then it became obvious, in terms of where the album had gone, it was kind of, half of it worked really well, and the other half of it didn’t, so we had to go back into the studio to record the rest of the music, and that’s when we drafted Bob in.”

‘Bob’ being than Bob Fridzema from King King – another example of the blues network in action, as Wilson reveals.

“My brother is really good friends with Wayne Proctor – and I am to be honest.  And Phil mentioned our album to Wayne, and played a bit of it to him, and Wayne said: ‘Oh, it sounds really great, maybe if you put some Hammond organ on it, you should give Bob a ring, he only lives down the road from you.’  And that was it.  So we went to Bob’s, and we recorded nine songs in one day – he just absolutely tore it out, it was amazing.”

Bob Fridzema - all in a day's work.

Broken Machine ultimately does feature some soulful blues, but the opening tracks suggest a more distinctive vein, and if this derived from a number of different factors, one of them was Wilson’s singing – or as he sees it, his limitations in that department.

“We picked keys that I can get my voice to sound good in.  I’m not a naturally gifted singer, as I’m sure you’ve heard from the album.  I’ve done a bit of vocal coaching and to strengthen it, and something I learned from the Infamous Vampires thing is that in order for my voice to sound cool I have to write melodies a certain way.  And melodically make it quite rhythmic.

“And then,” he goes on, “because I started off listening to progressive rock, and then went through the whole indie thing, and then the Infamous Vampires, there’s an awful lot of influence to draw from, so from a songwriting point of view once these songs started to sound less bluesy, it was almost a natural thing where we went: ‘Let’s arrange these songs as interestingly as possible, and then work to create something that we would really want to listen to.’”

Not that this approach got him entirely off the hook in terms of vocal challenges, as he explains in relation to the closing track on the album, the emotional ‘Holding Hands’.

“The hardest song was ‘Holding Hands’,” he says.  “Because as I say we played a lot of that sort of thing with Sean Webster, and Sean has got the sort of voice where I don’t think it would matter what he sang over it, it would sound amazing. Which then made me feel like I really had to, you know, man up.  And I think it took me a long while to work out how to sell an emotional story.”

I mention that he makes good use of falsetto in the process, and he agrees.

“Yeah, and that was because for the choruses I couldn’t do the big male vocal.  So I thought well, there’s certain artists I’m into that have girls singing with them, and maybe I can sing in falsetto.  If I just double the chorus, and try and take the melody there, maybe that’ll make it more interesting.  And then it started to make more sense of the song. And while I wouldn't say it’s the best song on the album it’s the one I’m most proud of, because I really had to dig deep.”

I offer the observation that Wilson’s guitar playing also shines on ‘Holding Hands’ – it sounds like he really gets into the zone, and builds off the melody in a way that connects with the words.

“I really appreciate that,” he says.  “You try to create that – and it’s a lot easier to do live, you know, when you’re on stage, there’s nothing else around you, you’re in your zone.  But when you’re in a studio it’s more difficult.  When you’re in your parents’ spare room it’s more difficult – I recorded the solo for that song in a conservatory!”

It’s a homely picture, but some other songs on the album suggest rather different images – as revealed in Part 2 of this interview, ‘Blade Runner Meets The Blues’.  But while you're waiting, here's the delightfully wacky video for 'Peace And Love' for your edification and delight!

Broken Machine is released on 21 April, and can be pre-ordered from Amazon.
Check out Ash Wilson's forthcoming tour dates.