Original published in Blues in Britain Magazine

Guitarist and saxophonist, Steve Ajao has been an evangelist for the blues for more than 30 years.  Now celebrating the anniversary of his debut album, Juanita McGowen caught up with Ajao at Music Up Studios to talk about how the blues changed his life and how he looks forward to another year of being one of the hardest working performers in the blues and jazz industry. 

Your debut album, Pure Evil was released last year. Did it achieve all that you originally set out for it to do?

Yes, pretty much.  It was just before Christmas when Bob Lamb, who’s responsible for UB40’s first album, said he had always wanted to capture my band as it sounds live. So, largely the album was recorded as if we were just doing a gig. And I think it more than captured how we really sound.

Why did it take 30 odd years to get something down on record?

Well, I had done one before.  The BBC did something with me about 12 years ago. But it really is just down to me being so busy.  I play jazz and blues as a sax and guitar player respectively and being knocked over didn’t really help. So when I was hit by a car that took me out for a spell. But as soon as I got back to gigging, it didn’t take long to get back to it and the album represents how the band currently sounds.  We’re hoping to raise our profile on the live scene with plans to travel around and play wherever the wind blows us.

At the Prince of Wales, near the NIA in Birmingham, we would often play at a weekly set on Sundays particularly. They’ve moved operations to the Brown Lion in the Jewellery Quarter.  And we’ve started playing there just the other week.  It’s a great night, there’s hardly room to swing a cat if you know what I mean.  But generally, I like to keep busy.  I don’t like the grass to grow under my feet.

What influences the choices in your live sets?

We have a vast repertoire.  I’m not much of a singer songwriter type of guy but rather interpret songs – which is the way I understand the blues tradition.  Somebody would write a song, someone would half hear it and then make their version of it.  At my performances, you won’t get studied replicas of tunes but rather I get the essence of it across to audiences.  I like to run the whole gambit of the blues. 

I like to show people that the genre isn’t depressing – no one wants to hear I got no money and my baby’s leaving me, particularly.  What I like and what influences me is the humour of the blues…the wit, the darkness.  The other day, we did “Who” by Little Walter that has some lovely lines in it – Who told you I’ve been fooling around, Who told you that I was going to town, Whoever told you baby better get outta town.  People like those type of lyrics and we ad lib a few things like that.  We make it humourous and when I say humourous, I don’t mean a laugh a minute.  The blues isn’t miserable. It’s about making light of stuff. 

What really has your heart?  Blues or Jazz?

Indistinguishable.  I love them both. I grew up listening to both. My old man was a guitar player and that’s how it really started for me.  We lived in this pokey little back-to-back house in Ladywood and every Sunday his friends used to come round and set up equipment in my parent’s bedroom, which was just above our living room. My mom would say ‘Come on kids, your dad’s funny pals are coming round!’ These guys would turn up wearing berets, goatees and dark glasses with names like Robinson and Sugar. One would bring a huge double bass. My dad would play drums in those days and eventually he got tired of lugging around the kit. He eventually would get a guitar because it was portable.  They would come to learn from him like be-bop numbers and bluesy stuff.  As a kid, I heard that all the time, all day. 

To my sister and me, the sight of a double bass against a wall was an irresistible object. We’d climb up it and slide down.  Eventually, as I got more interested in the music, my dad would say ‘I’m going out, don’t touch my guitar’.  So of course, it was like a red flag to a bull, I’d go straight to it, you see.  Occasionally, a string would snap and I wouldn’t know how to put a new one back on. So after being scolded a few times, he finally got me an acoustic guitar when I was about 7 or 8 and I’m 59 now so it was a long time ago.

All that seems like such a pivotal moment for you as a musician. Did your dad and those guys coming round change your life?

Oh yeah, pretty much.  My dad used to say ‘get on with your studies, don’t give too much to the world of music’.  I was never really an academic guy. I went to art school and he thought I was going to be a beatnik forever.  He wasn’t too far wrong with that. 

My initial thoughts were when I grew up, I was going to be in a garage somewhere in Paris, painting every day and cruising around in a bohemian fog at night.  But the blues kicked in and I ended up playing that – long before the blues bloom hit.  All the sudden my friends started talking about Eric Clapton and people like that. I’d listen to some of their records and I’d think well I’ve got some of that stuff that he’s been listening to and I’d bring the originals in to my friends.

You must have some crazy stories from back then of all the people you’ve had the pleasure to meet and play with.

I’ve got loads!

I was a steward when Chuck Berry was playing the Lanchester Polytechnique at the Art Fest.  With my big afro, I had to stop the punters from going up to the ‘stars quarters’.  Anyway, Chuck Berry and Billy Preston were on the same bill that night and they were looking down from back stage at Slade playing.  Chuck Berry yells over to me ‘Hey man, come over here brother. What’s the name of this band?’ I said, ‘They’re called Slade.’ He says, ‘What? Can’t hear you.’  I said ‘Slade!’ He replies, ‘They damn well should be!’ It was great.

Another great story is when I met BB King.  My friend had just bought this defunct cinema near Moseley as he wanted to transform it into a gig venue.  He managed to get BB King to come and play.  No one must have believed BB King was playing because about only 80 people filled this huge cinema building on the night. He played a brilliant show. I think Robert Plant was in the crowd.  After the show, I got friendly with this sax player because by this time I was playing sax. BB King walks up and he said ‘Man I’m hungry. Is there anywhere I can get me some food?’ I asked him what he wanted and he replied, ‘I fancy some good ole fashioned, English fish and chips.’ So I took him to Lou the Greek’s fish and chip shop.  He got mushy peas, curry sauce and pickled onions.  He had this huge portion of fish and chips with everything else thrown on it.  And then off he went.  Seriously, can you imagine telling your mates that you just took BB King for fish and chips around the corner?

Do you think it was a case of right place, right time for you?

I think if I had been just that tiny bit older then I would have been really equipped to take part in things. Undeterred, I carried on. Now, I think the climate for the Blues is getting better. Whenever I play now, I get inundated with young and old wanting to know where they can hear some more of this stuff – which is good!

How do you feel about this moniker of being a Blues music legend – a patriarch of sorts certainly in your hometown of Birmingham?

Well, it’s funny.  My reputation is largely founded on years of playing.  I see my role as just to carry on and hopefully I’ve inspired people to do the same thing.  The other day I was playing the Warwick Cavern and this young guy was playing there and I thought ‘wow, it must be great to start off playing with all this wonderful equipment!’  That wasn’t quite the way I started. Nevertheless, it is great to see that the blues is still alive and well in young hands as well as hands as old as mine.

Pure Evil featuring Steve Ajao and his band, The Blues Giants is available to download on iTunes and features twelve renditions of classic Blues songs often featured in Ajao’s live performances including  Money’s Getting Cheaper and Hot Little Momma.

Still living in his native Birmingham, Ajao is often seen performing at venues such as the Rush Hour Jazz Club at the Symphony Hall and on Sunday nights at the Brown Lion Pub in Hockley, Birmingham.

The Cult, famous for songs like She Sells Sanctuary and Firewoman, has recently announced a series of new music releases called “capsules” along with special edition vinyl and DVD footage. The band will be touring the UK in 2011 and Juanita McGowen gets one half of The Cult, Billy Duffy, for a chat about bringing the band into the 21^st century, his take on the fans and what the relationship is like with his partner, Ian Astbury.

The Cult’s UK tour dates are:

JANUARY 2011

Leeds, Academy – 18
Bristol, Academy – 19
London, Hammersmith Apollo – 21
Cambridge, Corn Exchange – 22
Bournemouth, Academy – 23
Nottingham, Rock City – 25
Wolverhampton, Civic Hall – 26
Newcastle, Academy – 27
Glasgow, Academy – 29
Manchester, Academy – 30
More information on http://thecult.us

They were genuine 60s icons, musical visionaries and a whole lot more, but while everyone knows the myth, few know the real story of The Doors. At last, however, that story is being told in When You’re Strange, the first, feature length documentary looking at one of America’s most “dark and brooding” bands. In the lead up to its DVD and Blu-ray release in the UK on August 30th, Juanita Appleby spent some time with founding member Ray Manzarek to talk about the film and also how The Doors’ music lives on.

Offering up only original footage – both unreleased and rarely seen as well as classic footage of the band in action at their peak – When You’re Strange is directed by Tom DiCillo and narrated by Johnny Depp. The project also brought the remaining Doors together.

Ray Manzarek commented on his and remaining members’ involvement by saying, “All three Doors were supervisors and worked closely with the director on putting the film together. Making sure that it was good. You know, making sure it conformed to our high standards because we never compromise.”

Using footage shot between 1966 and 1971, When You’re Strange presents the band and 1960s America in a captivating way. The film opens a window into the band’s world of fame, drugs and alcohol but always returns to their fierce commitment to their music. Though Jim Morrison’s struggles and excesses shape the film, this is the story of Ray Manzarek, Robby Krieger and John Densmore; musicians whose insistence on artistic freedom and refusal to compromise inspired generations.

For the casual and die-hard fan alike, Manzarek says “I think he will take away the understanding of The Doors as human beings…as artists…as poets. And not drunkards.

“Die-hard fans will take away the same thing. He will see The Doors as…behind the scenes! Never before seen behind the scenes! Back stage…in the dressing room…in the recording studio…things you’ve never seen before. Doors at play. Doors at work. Doors having sex. That’s the best part. Jim Morrison just having sex.”

Whilst that last bit might be a slight exaggeration, the film is already inspiring many to go out, buy instruments and make music. This is part and parcel of the sympathetic and fly-on-the-wall clips of The Doors during the creative process.

And that creative process survives through the continuing efforts of Manzarek and Krieger. Both founding members have admitted to “carrying on the legacy of the music”. In fact, they just finished up a US and European tour on July 20th with Michael Matijevic formally of Steelheart.

“Michael is doing a great job. He’s dark, brooding and mysterious. Cut from the same cloth as Jim Morrison. He’s doing a marvellous, bang up job of singing Doors songs.”, says Manzarek.

This fascinating film offers a glimpse into one of the most acclaimed rock bands, captures their rock and roll lives to brilliant effect and is now available to buy on DVD and Blu-ray at zavvi.com.

Originally published on Midlands Rocks

Toyah Willcox is a true renaissance woman and die-hard Midlands lass. Her career spans over 3 decades and ranges from stage and song as well as ticks in the bestselling author and charitable activist columns. In 2010, she emerges yet again as a rock star, touring and recording with her new band, The Humans.

In advance of an upcoming appearance at the Asylum, Juanita Appleby speaks to this punk, new wave icon about her passions, her thoughts on the music industry and what people can expect from her concert on April 23rd.

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JA: I’m going to throw some stats at you, Toyah, because it just blows my mind. 30 albums plus, 13 UK Top 40s, best-selling author, musicals, stage, TV, movie, radio, presenting, voiceovers, charitable activist…so tell me what’s your real passion?

TW: Wow, that’s a good question. I prefer work in front of the camera but work like that is few and far between so I need to be constantly engaged with a kind of creative experience. I’m the kind of person if there isn’t an opportunity happening in one genre I’ll find it happening in another. So that’s probably why I have so much on my CV.

JA: So you get cabin fever if something isn’t happening?

TW: I have cabin fever daily, hourly even.

JA: I read on your blog that getting back into music has given you absolute joy.

TW: It’s fabulous. I have absolutely no problem singing nostalgic songs. For instance, when we play the Asylum next week I’ll be doing songs that are the very first songs I ever wrote off an album called Sheep Farming in Barnet but I’ll also be doing songs off an album I wrote 18 months ago. But for me, it’s a project that makes me kind of explore who I am today and also makes me cover new ground and that’s just exciting. That project at the moment is The Humans which in three weeks time, we start our second album.

So I’m really enjoying that immensely because it’s such an obscure project. It means that I can write virtually anything and it works under the banner of The Humans.

JA: Your first single with The Humans was These Boots Are Made For Walking. Why did you choose to release a cover?

TW: That was the idea of my writing partner, Bill Rieflin. He comes from a very commercial background. For the last seven years, he’s been the drummer in REM and that’s where he is in New York at the moment starting their latest album and I get him in May. But he was also in a band called Ministry and Nine Inch Nails. So he has a really varied background.

He just phoned me up one day, in his Seattle accent, and said that he wanted to hear my voice sing These Boots Are Made For Walking. I grew up as an 11 year old child listening to that. For Bill, it’s a completely different meaning because he’s two years younger than me and he remembers it as a great pop song. I remember it as something that narrated my home life so I was really happy to give it a go.

It’s a very clever and subversive song because it is about dominance. It’s about betrayal and I think it works very well when you decide to do it as a pop song or do it as an alternative new wave song.

JA: I had a listen to it and I got to tell you, it was raunchy. I liked it.

TW: It is raunchy and that’s thanks to Bill and my husband.

JA: You looked amazing in the video. When I told my husband that I was going to speak to you today, he was elated. He said he had you on his wall next to Blondie. So what’s it like being a sex symbol, especially now that you are a matriarch of all things punk and new wave?

TW: (laughs) The sex symbol side I don’t know about. That’s a difficult one and very hit and miss at my age. I just happened to have a good day, the day we were shooting Boots. I do enjoy being a matriarch. I love it. When we do the Asylum, there’s going to be younger bands playing as well. The whole idea is to place established artists alongside new artists which is a really lovely idea. But backstage it’s nice because I am a matriarch and there’s a lot of respect. But also there’s a lot of chat about ‘what would you do if you were in our place, how did you do this, and how did you do that?’ It’s really nice to be trusted. I enjoy that side very much.

JA: You mention younger bands. Last 3 Victims is one of those supporting acts and it is an up-and-coming Midlands’ punk band. Are they worthy support for you?

TW: We played the Robin a couple of weeks ago and they had a fabulous reaction. They really deserve to be doing the Asylum.

JA: How’s it feel to be performing in your native Midlands?

TW: It’s nice. I like it. I always like it. As an actress, I get to come to Birmingham often because I was working in a radio soap opera at the Mailbox for the last two years and when I tour as an actress I’m always at the Alex or the Hippodrome. So I still know my hometown really well.

But to be coming back and being there as a rock singer, it’s a pinnacle. I really look forward to it. It’s great fun, and it’s my home turf. I spent the first 18 years of my life in this city. And I grew up loving music in this city as well so it’s nice to be back.

JA: To be honest, I don’t know how you’d find the time. But would you consider yourself a supporter of Midlands’ music or at least independent music in general?

TW: I’m a supporter of anything new and you know music is for the young. I don’t mean exclusively for the young, I mean they deserve their place. I think there’s a lot of talent out there. Peter Newton, who’s put Sanctuary music together, is on to a good thing because he really is pushing it and holding it together with dedication towards new music. I think it’s a very clever way of getting young artists seen by putting them with an established person so the press is interested. So, I am a supporter in that way, very much so. But I also feel incredibly optimistic that the internet is a great place for new music. When I started, punk rock was a great outlet for everyone who didn’t even get a look in on the mainstream labels.

And now today, it’s almost full circle because the mainstream labels don’t really know what they’ll be doing with the product. But also they have brought the boundaries in so tight that if you don’t sell a million on your first album, there’s no longevity. So I love the internet. I’m a huge fan of it putting people out there and allowing the audience to discover them.
I actually find this particular time of music very, very exciting.

JA: I read on your website that you called the music industry cynical, finance led and described it as making your blood boil. What’s that about?

TW: I do find the industry deeply cynical. There have been massive success stories in this country with Girls Aloud and JLS but also there’s a lot of talent out there that only get to the audition stage and you just wish they could be nurtured a bit.
And it’s not just about performing, it’s about song writing too because that’s our culture. The Beatles established it so well that the culture of rock is the songs in which we write. So that’s why I feel it’s so important to find a way to support writers as well as performers.

JA: OK, let’s get down to business. I know you have recently performed in Leamington Spa and your gig at the Robin got some good reviews. What can people expect from your performance on the 23rd?

TW: There’s a variety of bands. It’s just absolute value for money. It’s chocker block full of bands which is fabulous. I’m very much a rocker and it’s a rocking show. And I want people to rock out. I not only do my own stuff but I’ll also do covers of songs that have absolutely thrilled me throughout the whole of my adulthood from Guns and Roses, Alice Cooper, and Billy Idol. It’s going to be a really high energy show.

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Xposed presents Toyah Willcox in Birmingham on April 23rd at the Asylum with support from Last 3 Victims, Gundogs and Deadfilmstar. Tickets are available by visiting www.theticketsellers.co.uk or by visiting Sanctuary Music in Tipton. www.sanctuarydudley.com