The single is available on all the digital download and streaming platforms and here the links to a few popular ones.
The single is available on all the digital download and streaming platforms and here the links to a few popular ones.
When surveying his history and discography it’s quite clear that David Philips is diversely talented enough to make whatever the hell kind of music he wants to make without any outside help, and make it well. So when this British expat who now call Barcelona, Spain his home locked himself up in a studio last winter to make a more-or-less straightforward rock album, it was going to be interesting to see if this singer-songwriter mostly known for stripped down folk hymns could maintain that notion. Winter, now out from Black and Tan Records, does. It’s a fully produced album, but perhaps ‘fully produced’ only by the standards of roots rock. Philips plays all the instruments, as he always does, but there’s more to play: guitars, bass, drums, lead and background vocals. He puts it all together in a mix that resembles a real band, and wrote eight new tunes that have hooks and riffs, leaving just enough space to let his lead guitarist side flourish. The furry analog blare of “Changes” is immediately inviting to ears attuned to seventies classic rock and the grit quickly dismisses any idea that Philips would go commercial. The soul-infused blues-rock “Mary” is a dead ringer for a Doyle Bramhall II cut, and an occasion for Philips to show what he’s got in the hot licks department. He takes a three-chord riff far on “Rich Man” and goes rural with harmonica and acoustic guitar on the eminently catchy “Home.” And then he shows off Hendrix chops with a dash of Bad Company and Stevie Ray Vaughan thrown in on “The One” (video above) as well as on “Running,” while “Your Way” downshifts to a lilting ballad tempo. The album closer “That’s Alright” seems bound to be all about a heavy guitar riff before unexpectedly encountering a soulful psychedelic interlude laced with ace blues chops. Clocking in at a lean half an hour, Winter concludes maybe a little sooner than we’d like, but that running time was par for course in the vinyl age, and it’s much better to have that old feeling even if it means revisiting one of its small limitations. At least I didn’t have to get up to flip the record over in the middle of it. David Philips has again made music without making any concessions.
The Recall is a SciFi thriller about five friends on vacation at a remote lake house where they expect nothing less than a good time, unaware that planet Earth is under an alien invasion and mass-abduction.
The film was released on June 2 this year and they used more then two minutes of the song right at the beginning in one of the opening scenes of the movie.
Here is a Spotify playlist containing tracks from the Black and Tan catalogue that have been used for sync placements worldwide.
The music was used in films (a.o. Refugio), commercials (a.o. 5-Hour-Energy-Drink, Flipboard) and lots of tv programs (Sons Of Anarchy, Suits, American Idol, Fox Sports, NCIS, Banshee, Graceland, Scorpion, Wentworth, Lilyhammer, Ice, The Leftovers, Celblok H, Six and many others).
Two more songs from our catalogue were placed in American tv series. In November last year Blue Sky by Big George jackson was used in Ice; a tv series placed in the treacherous world of the diamond business. And in April this year the song Don’t Wait Too Late by Boo Boo Davis was used in Taken (NBC)
David Philips is een Engelse muzikant, die in Barcelona woont. Hij debuteerde in 2010 met het in eigen beheer uitgebrachte Heal Yourself Alone. David maakt ook reclame-produkties voor bedrijven. Zo was hij onder meer succesvol met de song What Am I, die door Redbull wereldwijd werd verspreid. In 2011 werd de muziek van Philips voortaan uitgebracht door het Nederlandse label Black and Tan Records. Het debuut bij deze platenmaatschappij was de release van The Rooftop Recordings. Een album met liedjes die David in zijn appartement in Barcelona heeft opgenomen. Vorig jaar verscheen de opvolger The Rooftop Recordings 2, opgenomen op het dakterras van zijn appartement. Een sobere aanpak met twee microfoons: een voor de gitaar en een voor de stem. Het nieuwe album bevat liefst 18 nummers, waarvan er 6 instrumentals zijn. De akoestisch songs zijn gegoten in een aangename mix van folk, blues en jazz. David wisselt nogal eens van instrument zoals een 6 snarige gitaar een 3 snarige cigarboxgitaar, een ukelele en een dobro. David Philips is een geweldige gitarist. Luister maar eens naar prachtige ritmische fingerpicking-nummers als het openingsnummer Making It Up en vervolgens That Dirty Road. Zijn soulvolle stem valt op bij intieme liefdesliedjes als Washes Over Me en My Baby Needs Love. Wellicht het mooiste nummer is het vol passie gezongen Guitar On His Knee. Bij de instrumentale tracks valt Migration op met prachtig Spaans georiënteerd gitaarwerk. Het album wordt afgesloten met een down home bluesje Long Flight Home. Dit is een heerlijk luisterrijk album van een talentrijke muzikant.
March 24, Strasbourg (F), Au Camionneur
March 25, Aachen (D), Musikbunker
March 26, Rostock (D), Zwischenbau
March 27, Bad Brambach (D), Cafe Grenzland
March 28, Passau (D), Cafe Museum
March 29, Passau (D), Cafe Museum
March 31, Ulft (NL), DRU Cultuurfabriek
April 1, Friedrichsrode (D), Kunsthof
April 2, Koln (D), Torburg
April 6, Groningen (NL), Noise of the North @ de Spiegel
April 7, Rorschach (CH), Jazzclub
April 8, Thun (CH), Cafe Mokka
April 14, Deventer (NL), De Hip
April 15, Arnstadt (D), Rockjungfer
April 16, Döbeln (D), KL 17 Liveclub
April 19, Lublin (PL), Graffiti
April 20, Olomouc (CZ), Bounty Rock Cafe
April 21, Dobromierz (PL), Dobro Blues
April 22, Lodz (PL), Pub Keja
April 23 (afternoon), Chorzow (PL), Sztygarka (Bluestracje)
April 23 (evening), Suszec (PL), Gminny Ośrodek Kultury
April 24, Mikolow (PL), Miejski Dom Kultury
April 25, Ostrava (CZ), Klub Parnik
Prendete un locale sperduto nel Nord dell’Olanda, infilateci un pubblico partecipe (cosa ormai rara) e un trio che suona un blues sincero e che gli piace farlo. Risultato? Un onesto disco di blues che ti viene vo- glia di riascoltare immaginando di poter essere stato tra i fortu- nati presenti. Questo trio è capitanato da Boo Boo Davis, un mississippiano DOC, nato e cresciuto a Drew nel cuore del Delta, e questo lo si capisce alla prima battuta. Certo che aver avuto a casa propria personaggi come John Lee Hooker, Elmore James o Robert Pete Williams, intenti a suonare col proprio padre, non dev’essere un’esperienza da tutti i giorni e, forse, qualcosa di quelle magiche atmosfere deve per forza esserti rimasta dentro. Sia come sia questa magia emerge da questo “Live And Almost Unplugged” e ci rega- la una sana lezione di blues, dove quel che conta è quel che si dice e non quel che si fa. Lezione che dovrebbero imparare tutti coloro che si approcciano al blues come se fosse una competizione col diavolo o più semplicemente con gli altri “colleghi”. Partita persa prima che inizi, cari miei e il settantatreenne Boo Boo Davis ve lo può dimostrare. Un solo microfono al centro della sala del piccolo Cafe de Amer, il pubblico a due passi e il concerto ha inizio. Boo Boo con la sua armonica e voce è sostenuto da un ottimo Jan Mittendorp alla chitarra e da John Gerritse alla batteria. Non serve altro. Il loro blues fa tutto, dall’iniziale “Ice Storm” via via fino alla conclusiva “St. Louis Woman”, tutti brani scritti da questo trio. È difficile stabilire quale sia la miglior canzone, l’abilità di questi musicisti è quella di aver creato un tappeto sonoro capace di coinvolgere il pubblico olandese come l’ascoltatore a casa, portandolo con l’immaginazione nelle terre piatte del Mississippi dove le ombre al tramonto si allungano sui campi come fantasmi e al crocicchio gli alberi la notte si trasformano in diavoli tentatori. Allora, non esitate, fatevi ten- tare da Boo Boo Davis, qualcosa da insegnarvi lui ce l’ha.
Live in Europe sounds really impressive, unless you are in Europe, where “Live in the USA” sounds more impressive. By now an elder statesman of the acoustic blues, singer-songwriter Doug MacLeod, known as “Dubb,” took his National resonator guitar named “Spook” and headed over to Holland back in 2006. This is a reissue of a DVD originally recorded back then, when MacLeod was signed to Black & Tan Records. He recollects that he had a fever that day and he had only 50 percent of his voice. This is the raw recording of MacLeod, Spook and his stomping foot. “No overdubs, no pitch control, no do-overs. It was one night when one of our best and finest acoustic performers today wasn’t feeling too good but went on stage anyway.” If that weren’t written here you would never know it. MacLeod is such a consummate professional, a superlative singer-songwriter and guitarist, a storyteller and performer, that the only thing you will notice is that this is a seasoned pro, a man who cut his teeth playing guitar for George “Harmonica” Smith. He’s played with Big Joe Turner, Pee Wee Crayton, Eddie “Cleanhead” Vinson, Lowell Fulson and Big Mama Thornton. For three decades or so he has been an internationally successful touring musician, and if you don’t know him as a player, maybe you know him as host of Nothin’ But the Blues on Long Beach / Los Angeles’ KLON-KKJZ. Top that with winning the 2016 Blues Music Award for best acoustic blues artist. On this album he is a bit more gentle than normal, delivering nine tunes. He starts off with one of his signature songs I Want You, with his classic pick-up line by now so often copied by lesser men, “I want you / don’t you know I want you / every word is true / this man wants you.” He does a 14-minute-long version of Bukka White’s train song The New Panama Limited. He also delivers smooth versions of his standards Home Cooking, Cold Rain, Long Time Road, Turkey Leg Woman and Master Plan. Bad Magic is an homage to one of his early mentors, Ernest Banks of Toano, Virginia, a one-eyed bluesman who taught MacLeod, “Never play a note you don’t believe.” MacLeod surely took this advice to heart. As a performer and singer, MacLeod is simply unmatched. He interacts with the audience with plain talk, humor and natural “we’re all neighbors and friends” dialogue. He plays a pounding, percussive heartbeat on the guitar, singing with his rich and vibrant voice. Another thing he learned from Ernest Banks is to play his National resonator guitars with such rhythmic force that his audience can’t keep their feet still for wanting to dance. MacLeod remembers. “Ernest said, ‘You have got to make them dance.’ Because he said if they weren’t dancing they weren’t drinking, and if they weren’t dancing and drinking, he wasn’t going to get paid. So, you got to make them dance. The old bluesmen like Ernest Banks and Son House used to do that. Ernest said, ‘You ain’t shit unless you can make them dance.’” If there is one guy on the scene today who keeps the blues vibrant, fresh and new while keeping to the tradition and adding fiery and intensive original news songs, it’s Doug MacLeod.
Boo Boo Davis, geboren in 1943 in Drew, Mississippi, is een regelmatig bezoeker van ons land en een graag geziene gast. Dit laatste vanwege zijn connectie met Black and Tan Records en zijn Nederlandse begeleiders John Gerritse (drums) en Jan Mittendorp (gitaar), die niet geheel toevallig ook iets met genoemde platenmaatschappij van doen heeft. Davis, die zingt en gitaar, harmonica en drums speelt, heeft over de hele wereld getoerd en een behoorlijke catalogus aan cd’s uitgebracht. Op 30 oktober jl. traden David met Gerritse en Mittendorp op in het welbekende Café de Amer in het Drentse Amen. Van dit optreden zijn tien nummers uitgebracht als “Live And Almost Unplugged”. Tien nummers, zoals we ze van Boo Boo Davis kennen. Gebracht met veel plezier voor zowel de muzikanten als het publiek. Heel simpel en basic met slechts een stereomicrofoon in het midden van de ruimte. Niet gepolijst of geschaafd, gewoon muziek zoals het die avond klonk. Dit komt alleen maar de puurheid en eerlijkheid ten goede. Een mooi document van een van de weinige nog originele Mississippi bluesartiesten. Aanrader.