“STUNNING understanding and appreciation of my work.”
paul corry (@thebluesfreak), England, February 14, 2014.
As one gets older, it’s
been proven that your musical tastes mellow. And, with your consumption of music
sated over the years, it’s likely any pursuit of new tunes also tails off. Mine
certainly has, with the last blues album I actually bought being “Precious
Little” by Jeremy Spencer around 2007. Apart from being one of the best blues
slide guitarists around, I was attracted to Spencer because I expected something
a little different than your standard blues album. After all, he was one of the
original guitarists in Peter Green’s Fleetwood Mac between 1967 and 1971, when
The Mac were the British blues band
to be reckoned with.
White, Gary Clarke Jnr. and all the rest of today’s latest generation of
|Duane Eddy with Paul Corry on sax.
Courtesy Harrisona Pictures
musicians and, yes, they are absolutely fantastic and I love listening to them.
I just haven’t downloaded any of them because how much electric blues does a
bloke need? And there’s always Spotify if you feel like a bit of a blues blast.
Spencer’s work comes highly recommended but I’ve just heard a couple of albums
by a relatively undiscovered blues musician who, I’m beginning to think, is
going to appeal to my blues-attuned ears even more than dear old Jeremy.
multi-instrumentalist from South East London called Paul Corry and he already has
a musical pedigree many would kill for, playing with such legends as Duane
Eddy; blues harmonica star, Johnny Mars; and Martha Reeves of Martha and The Vandellas fame,
just to name a few. Grammy-winning twangy guitar wizard, Duane Eddy, even
endorses Corry’s latest album, Truth Serum, saying:
great new blues album well worth your time and money. Paul Corry is a wonderful
blues guitar player and has a soulful voice that will definitely move you. He
mixes up his own style of blues that would make those swampy delta bluesmen sit
up and take notice. I love this album.”
|Paul Corry, third from left, with Jamiroquai|
you, I don’t know what will. And the guitar isn’t even Paul Corry’s first
instrument, even if he plays electric blues upon it exquisitely. Paul Corry’s primary
instrument is the saxophone and he’s talented enough to be a regular in the touring
horn section of Grammy-winning band, Jamiroquai, they of 40 million album
of Roy Wood’s regular line-up. That’s the
Roy Wood who co-founded such great British bands as The Move, ELO and Wizzard.
The last time I saw Roy Wood, to digress, was at an urinal after a Move gig at
Bristol University in the late 1960s. The Move’s unique selling point at the
time was destroying live television sets on stage. I can’t remember if they
smashed electric guitars into the screens or used long-handled axes; but it was
all pretty innovative and even trumped The Who’s stage act. I think The Move wore
all-white that day, with their boots covered in what we used to call whitening.
This was a creamy substance deposited on white cricket boots, to keep them
white, or put on plimsolls, as we used to call those British canvas sandshoes developed
in the 1830s. Apparently, plimsolls acquired their name because if water
|Paul Corry (left) with Roy Wood this Christmas: Birmingham Symphony Hall|
above the “Plimsoll” line of the rubber sole, your feet got wet.
three members of the Move lined up, splashing the boots, so to speak, the residual
spray ricocheted back from the urinal splattering each carefully-whitened Move boot,
the pock-marking of urine totally ruining the effect.
piss-talking and back to the talented Paul Corry, who plays most of the instruments
on his two albums,
released under the Bluesfreak moniker. These include guitars, cello, EWI (electronic wind instrument),
keyboards, tenor and baritone saxophones and flute.
On his 2011 album, “New
Roots”, which he describes as sparse blues with a touch of hip hop, Paul Corry
is joined by Roy Wood, who produces a track on the album and provides superb
Roy Wood-style backing vocals, cello, drums and string arrangement. The track
in question is Bob Dylan’s “Don’t Think Twice”. Personally, I think the result
is record good enough to grace any singles chart, but when has quality had
anything to do with such matters?
“New Roots” were written by Corry, who has an achingly appealing voice with a
phrasing style that reminds me of the Arctic Monkey’s Alex Turner. Maybe that’s
because they’re both English and that’s the latest English singing mode. But
where Turner sings with a Sheffield accent with often thunderous backing,
Corry’s sound is consciously south London. It’s also backed with the most
tasteful mixture of electric blues guitar, beautiful melodies and catchy hooks most
blues aficionados would want to hear. The lyric content, too, is English. “There
are no Cadillacs mentioned and no fake American accent. This is how I hear
things. I’m from London,” he says. Roy Wood explains Paul Corry’s
philosophy on the sleeve of “New Roots”:
modernised. It has happened with both jazz and classical music. Now could be
the time to drag blues out from its old touring flight-case and put some new
zip into it. The new tracks that Paul played to me are at times verging on ‘hip
hop’ while still retaining that core history of the blues. Paul recorded a
couple of (blues) songs which I produced for him. Although these would be
recognised as ‘standards’ we managed to keep the production as far away from
the blues as possible. And it works. Listen to ‘New Roots’. I think you’ll like
Roy Wood, December, 2011.
Corry’s second Bluesfreak album “Truth Serum” opens with “Entry Refused”, a radio-style skit with sound
effects highlighting the fact that he feels that he has somehow offended the British blues
away from pure blues. While I understand his frustration with such blues
purists, especially the BBC, I personally wouldn’t draw attention to this. His
music more than speaks for itself; but you can tell such lack of interest from
the purists (who should know better) certainly rankles.
Members Club’ as it reminds me of one of those impenetrable gentlemen’s clubs
in London. I have played at a few, so that’s where I got my inspiration,” Paul
blues police with it (his music), but I don’t really care. I have an EP on
iTunes of solo guitar and voice only doing Robert Johnson and Johnny Shines
tunes, so any accusations of being a non-traditionalist are baseless. I feel
this music (blues) has to develop in any way it can, (like) it always developed
and it shouldn’t stop with Stevie Ray Vaughn.”
embellishment of blues is what gives his music its beauty and originality and why
it stands out from most of the other blues around today.
inverted snobbery about the blues in Britain must seem laughable to Americans. If
I were Paul Corry, I would take solace in the fact that any artist worth his
salt, who deviates from his chosen genre, a genre attracting purists, is going
to take flack. Louis Armstrong went for years virtually ostracised by some in
the jazz world because he took a populist approach to his music, merging jazz
|Dylan in 2010. Corry covers Don’t Think Twice|
with pop. Acoustic folk fans were up in arms when Bob Dylan went electric. Eric
Clapton, too, was disowned by sections of the blues fraternity after turning to
country and commercialism. I once bought a massively thick Who’s Who of the Blues
and there was no mention at all of Clapton, although plenty of entrants for
lesser bluesmen. Who in their right mind can truly believe Eric Clapton doesn’t
warrant recognition for his blues playing?
Jimi Hendrix and Prince escaped criticism from Britain’s blues purists,
although both mixed guitar playing verging on genius with chart success. I also
remember Hendrix saying that one of his most famous riffs was taken from a
Turtles’ pop song. And how would the purists rate Albert King’s recording of
the 1934 pop classic, “The Very Thought of You”?
the right breaks, one day I hope we see a Paul Corry’s song up there, a song
that draws heavily on his blues influences. Apart from 12-bar rock & roll,
remember, blues-oriented tracks rarely make the top ten – if such a beast still
exists. Corry’s songs are certainly the right length.
more interested in the song than the solo, therefore there are, deliberately,
no extended guitar solos on any of them. We can all shred if we want to (speak
for yourself, Paul) but I’m finding the current approach to blues songwriting –
huge guitar intro, two choruses of vocals, huge solo, vocal, huge guitar outro
– a little tiresome. It seems the song has become an excuse for the solo. Not
in my work. I’m also bored to death of listening to songs six or seven minutes
long, so mine are generally three and a half minutes long, deliberately so.”
Roy Wood in his camp, there’s no telling how far Paul Corry can go. The
legendary Wood again
|Paul with Martha Reeve. I was boiling after that gig, he said.|
lends his trademark backing vocals, cello and drums to a
track on Paul’s 2013 album, the Duane Eddy-endorsed “Truth Serum”. The track in
question is Robert Johnson’s Come On In My
Kitchen, complete with Wood’s Queen-style (or should that be ELO-style)
harmonies. Most of the tracks on “Truth Serum” though were written by
Corry who described the album as offering more production and going deeper into
Corry a relatively undiscovered blues musician but, in retrospect, he’s
only undiscovered by the public in general. Duane Eddy, Roy Wood, Martha Reeves and a
whole lot of other music legends know who he is and appreciate his playing. I hope you’ll join them and sample Paul Corry’s work on the two links below.
albums and will take great pleasure in listening to them.