Tag: errol linton

Errol Linton Band at Long Street Blues Club, Devizes

London-based Errol Linton and band made a welcomed return to Devizes’ Long Street Blues Club last night. In June I was surprised to label it my personal best night at Long Street. Catching them again equally did not disappoint, despite knowing what I was letting my mojo in for…..

If Flo’s recent review of the Devizes Youth Action club night expressed a need for gigs for local youngsters, we’re not ageist here and tonight I’m at the other end of the spectrum; yeah, say it, I can take it – where I belong!

Long Street Blues Club welcomes all, but largely attracts older middle-classes with a collective passion for the blues, implanted via the historic Mel Bush effect. Ticket prices also play a part in governing clientele, but you certainly get value for money. All the tried and tested acts booked on their seasonal programmes are of a superior class and quality. Long Street should be proud of the  landmark they’ve created. It’s enough to pull devotees from Cardiff to London.

In its present-day form, Long Street Blues Club turns sweet sixteen this year, though with his brother Rick, town councillor and ex-mayor Ian Hopkins revived Devizes’ fixation with the blues mid-nineties.

Typically monthly, it offers the diverse range within its blues tagline its regulars crave. While others may favour British electric blues, prog-rock, or country blues, and these are readily available, I’m smitten for precisely what Errol and his band lay down, an irresistible mesh of Memphis, Delta boogie and jump with the wonderful twist of Errol’s Jamaican roots. Yeah, it’s going to switch to an offbeat, and set the Devizes Conservative Club to skank!

Likely the most prominent example of this in his set is a cover of Howlin’ Wolf’s Howlin’ for my Darlin‘, in which, after an explanation of the blues legend’s time in Jamaica, it rolls off with a one-drop reggae riff to make Joe Higgs blush.

Much is the set, a sublime and highly polished blues act with this resplendent reggae hook. I believe in my last review I waffled on a tangent about offbeat jump blues and shuffle rhythms influencing post wartime Jamaica via American radio stations, and the accidental hook creating the ska sound at an alleged Prince Buster recording session at Duke Reid’s Treasure Island studio. While I cited Jamaica’s first national sound, ska, as a major influence on Errol’s original output, tonight I felt a larger portion was ska’s successors rock steady and reggae. Maintaining the rootsy Delta boogie throughout, even tastes of dub was hinted at, as the pace steadied to hypnotic riddims; now, that’s right up my street and knocking on my door.

The crowd felt the vibe too, and while Long Street is a seated music appreciation society where idle chit-chat is frowned upon during a performance, folk felt the irresistible urge to shake their thang for the finale. For me, while happy it’s hardly stage-diving, mosh pit country here, I don’t know how anyone could’ve kept still last night!

It was a full house for this amazing five-piece, natural entertainer Errol on vocals and harmonica, pounding upright bassist Lance Rose, invigorating lead guitarist Richey Green, Petar Zivokvic wildly pushing the ivory, and devine drummer Gary Williams. Errol recounted tales of family ties, his parent’s immigration influencing a new song which came across decidedly dub in its initial King Tubby incarnation, whereas another memorable moment for me came with a country-tinged ballad called Country Girl, so gorgeously delivered it could’ve come from Toots Hibbert’s songbook. It was that magical.

They played with skill, joy and gusto, but not before Oxford’s acoustic bluesman Thompson Smurthwaite pulled out an impressive support. A regular at the Southgate I’ve yet to have had the pleasure of hearing, though Andy has reported previously.

I don’t know if Thompson sold his soul to the devil at the Botley interchange, but there was something decidedly deeply-rooted in his enlightening set of relatable originals and prison-type narrative about life on canals, with casual scat vocals akin to Robert Johnson himself, and all the sublime harmonica and guitar picking of any Mississippi blues legend of yore. 

Another cracking night at Long Street Blues Club. I was content enough just to be back in Devizes with cider in hand, after hibernation, broken by teetotal stints at The Pump and Wiltshire Music Centre! Anything else would’ve been a bonus, ergo, Errol’s band, and Thompson too made it a bonus ball the size of the boulder chasing Indiana Jones!

Next Stops for Long Street Blues Club are…

Friday 1st March 2024 – The Cinelli Brothers

Friday 5th April 2024 – Ben Poole Band

Saturday 4th May 2024 – Beaux Gris Gris and the Apocalypse (Corn Exchange)

Saturday 18th May 2024 – The Dirt Road Band

Saturday 22nd June 2024 – KOSSOFF The Band Plays On

Thursday 10th October 2024 – Heavy Drunk, Watermelon Slim & Leonardo Guiliani

Friday 18th October 2024 – Wishbone Ash (Corn Exchange)

Saturday 16th November 2024 – John Otway & The Big Band

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Errol Linton at Long Street Blues Club

In a remarkable finale to the season for Long Street Blues Club, London-based The Errol Linton Band presented Devizes with a sublime lively blues blend of delta and RnB, incorporating jazz, funk, reggae and ska too. But if the band’s proficiency in implementing this melting pot sounds erratic, the perfection was in the precision of switching through subgenres. The result was simply infectious.…..

It’s rarely mused, given the contemporary influence of Jamaica’s musical export, that prior to reggae its route lies with the removal of shortwave radio stations provided for American soldiers stationed on the island after WW2. As they disembarked Jamaica they left a blossoming sound system culture, the entrepreneurs of which set up recording studios as supply of US 45s declined.

They pulled from the influences they heard, jump blues particularly, and within these walls is the fabled Duke Reid session with Prince Buster, whereby copying the offbeat experiments of Fats Domino and Barbie Gaye, as was popular on the sound systems, and riding the shuffle beat style of T Bone Walker, a timeout was called and the guitarist ended by running the shuffle backwards, accidently creating “the ska.”

Even less widely known; initially Duke Reid wasn’t in favour of ska, but as the government promoted it for tourism as “Jamaica’s first national sound,” obviously he felt he’d lose out if he didn’t follow the trend. So, pre-ska, and even during its explosion, the Jamaican studios continued to put out as wider variety of sounds as they heard on US Radio, from blues to doowop and even country. This is a necessary backstory to capture the ethos of Errol Linton and his band, as Errol and two-thirds of the band have Jamaican heritage, are keen to emphasis this, and however subtle, everything mentioned gets a nod in their performance.

Errol is also an accomplished artist, creating portraits of his influences gives clear indication of who he is citing, the blues legends, from Sister Rosetta Tharpe to Louis Armstrong and beyond. Yes, the band deviated from blues, to throw down a jazzy number, to increase levels of danceable funk, and with a narrative of Howlin’ Wolf visiting Jamaica, they covered Howlin’ For my Darling with a matchless ska offbeat. Particularly diverse was an original “Country Girl,” as while maintaining one-drop reggae, the chorus verged onto a dancehall riff. It was right up my street and knocking loudly on my door, but I paused to observe the more blues aficionado regulars enjoying it equally as much as I!

For all the diversity I’ve noted, and mentioned the pleasure was in how proficiently they switched, even mid-song, this tight arrangement was best at delivering blues, and did so second-to-none. Frontman Errol gliding between vocals and harmonica, cherry-capped pianist Petar Zivkovic lightening on the keys, Lance Rose in porkpie hat, chilled on the upright double bass, perfectionist timekeeper Gary Williams on drums, and guitarist Richey Green presented the funkiest dancing show during play, the combo was spellbinding.

But none of this happened before Devizes-own Adam Woodhouse delivered the textbook support slot. Confident, despite his first outing at this blues appreciation society in which regulars will aim all eyes on you, Adam kicked off with an Elvis rendition of That’s Alright Mama, and with top-notch finger picking, continued covers with a remarkable Johnny Cash. Adam, a regular soloist at The Southgate and attendee of their celebrated Wednesday jam session, had some originals of his own, which were executed with panache.

A most memorable evening was had, in which frontman Errol reigned the moment, showing this natural ability accomplished over thirty years, since a busker of London’s streets. This is British blues at its finest, individually stylised yet heavily drawing from his roots, a perfect blend to homage his heritage, entertain and packaged in such a non-pretentious manner, you couldn’t dislike it; impossible!

An absolutely blinding night for the Long Street Blues Club, organiser Ian Hopkins’ smile said it all, as he clarified he’s been trying to book these guys for a while, and made a promise to the crowd they’d return; you need to be there when it does. The next season starts on 20th August, with anticipated return of Skinny Molly. Worth mentioning though, being we’ve discussed the early stages of Jamaican sound systems and Duke Reid’s Treasure Ilse, competitor Coxsone Dodd over at Studio One gave fame to a majority of reggae artists, yes, including Bob, and another crowned King of Rock Steady, Alton Ellis, that Alton’s son, Troy is on in Hillworth Park around about 3pm today. So, get your sandals on, unless you remain adamant nothing ever happens in Devizes!

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