May 10, 2022

Will Wilde interview

Will Wilde interview

Will Wilde joins me on episode 61. A sixteen year old Will stole his first harmonica while at a party and proceeded to put the rock into the instrument. He first started performing with his sister, Dani, as the harmonica player in her band. But Will has always had ideas of his own and soon formed his own band, with elements of rock and a heavy, driving blues style. Will has a very active YouTube channel, with lots of tuition videos and great performances, such as playing the Free Bird guitar ...

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Season 1 Diatonic Harmonica Blues Harmonica Rock Harmonica

Will Wilde joins me on episode 61.

A sixteen year old Will stole his first harmonica while at a party and proceeded to put the rock into the instrument. He first started performing with his sister, Dani, as the harmonica player in her band. But Will has always had ideas of his own and soon formed his own band, with elements of rock and a heavy, driving blues style.

Will has a very active YouTube channel, with lots of tuition videos and great performances, such as playing the Free Bird guitar solo on harmonica, as well as collaborations with other harmonica players.

Will has come up with his own Wilde tuned harmonicas, placing the second position root notes in the top two octaves as draw notes, which really opens up the  top end. Seydel manufacture these harmonicas.

Watch out for Will’s new album, with a new band, coming out later this year, which will see Will   move move towards the genre of rock.

(select the Chapter Markers to select different sections of the podcast)

Links:

Will's website:
https://www.willharmonicawilde.com

Wilde Tuned harmonica:
https://www.wildetuning.com
https://www.seydel1847.de/rockharmonica

EuroBlues week:
https://www.euroblues.co.uk/blues-week-2020/

Will’s online store:
https://www.willharmonicawilde.com/store


Videos:
Performing in a duo with sister Dani:
https://www.youtube.com/watch?v=ykL8FXME9sA

Lynyrd Skynryd’s Free Bird solo:
https://www.youtube.com/watch?v=UtXP2-5IC2E

YouTube tuition videos:
https://www.youtube.com/playlist?list=PLmVJfqqiy8uDgmhZT0oI7zbBP6Hua_pDi

Parisienne Walkways video:
https://www.youtube.com/watch?v=IPPGv5hBE0Y

YouTube collaboration with Erin Oberg:
https://www.youtube.com/watch?v=1dl4E1aqmgs

Pet Got The Blues Advert:
https://www.youtube.com/watch?v=DPzEWd079Lo&t=30s

Wilde Tuning Introductory lessons for standard and minor tuned:
https://www.wildetuning.com/lessons

Progressive Metal - Phrygian Dominant scale:
https://www.youtube.com/watch?v=4tAH3p8IjRs



Podcast website:
https://www.harmonicahappyhour.com

Donations:
If you want to make a voluntary donation to help support the running costs of the podcast then please use this link (or visit the podcast website link above):
https://paypal.me/harmonicahappyhour?locale.x=en_GB

Spotify Playlist:
Also check out the Spotify Playlist, which contains most of the songs discussed in the podcast:
https://open.spotify.com/playlist/5QC6RF2VTfs4iPuasJBqwT?si=M-j3IkiISeefhR7ybm9qIQ

Podcast sponsors:
This podcast is sponsored by SEYDEL harmonicas - visit the oldest harmonica factory in the world at www.seydel1847.com  or on Facebook or Instagram at SEYDEL HARMONICAS
and Blows

Support the show

01:33 - Will lives in the UK, and was born in the same town as John Mayall

01:51 - Moved to Brighton to take part in a drumming music course, but was more interested in harmonica by then

02:15 - First harmonica he owned was a novelty one he picked up at a party

02:37 - Felt really comfortable with the harmonica as soon as he started playing it and aptitude to playing harmonica

03:37 - Will was brought up listening to blues records, with Help Me a big favourite

05:39 - Learnt by playing along with records, especially Muddy Waters King Bee and Hard Again albums

06:35 - Started out playing with his sister Dani, touring Europe and recording some albums

07:50 - Will started his own band

08:30 - Does sometimes still perform with sister Dani as a duo

09:15 - Will plays a style of rock blues, although release later this year will focus more on rock

09:33 - Had a motorcycle accident where he broke his neck a few years ago

11:09 - Will now moving into more of the genre of rock, but with plenty of harmonica still

12:26 - John Popper is probably only other harmonica player to play rock

13:36 - Rock image cultivated by Will

16:09 - How he approaches playing rock on the harmonica and emulating electric guitars

17:35 - YouTube video where Will plays the Free Bird guitar solo note for note

19:37 - Rock playing is about the intensity, delivery and vibrato is key

19:53 - How the harmonica received by a rock audience

20:31 - Been called the Hendrix of the harmonica

21:37 - Has done a lot of touring in Europe

22:04 - First album was released in 2010: Unleashed

23:35 - Raw Blues album released three years later

25:29 - Hamburg Live album released in 2015

26:07 - Will doesn’t use that many effects with the harmonica

27:22 - Jason Ricci commented that Will sounds like he’s playing amplified when he’s playing acoustically

28:03 - Usually has some revere and delay

28:42 - Parisienne Walkways released as a single

30:00 - Bring It On Home album from 2018, which has lots of rock covers

31:58 - Has a very active YouTube channel, including collaborations with other artists

33:05 - YouTube teaching channel

33:57 - Will soon be releasing a new set of video instructional material

34:16 - Singing

36:36 - TV advert playing as a bluesy cat and appeared on children’s tv music show

37:38 - Teaching at EuroBlues week

39:02 - Gives Skype lessons

39:15 - 10 minute question

41:07 - Does play some chromatic harmonica, in the right setting

42:41 - Wilde Tuned harmonicas

44:01 - Layout of notes on Wilde tuning

44:56 - Minor tuned version

47:17 - Seydel manufacture the Wilde tuned harps

48:49 - How much he uses the Wilde tunings and usefulness in rock playing

50:39 - Is a Seydel endorser

51:26 - Different tunings

52:27 - Overblows: can play them but most of those notes available via Wilde tuning

53:18 - Embouchre

54:14 - Amps and mics: mesa boogie (studio) and Fender Vibrolux (live) amp and Beyerdynamic M88 mic

55:30 - Small amp: did use Honeyboy amp and turntable speaker

56:13 - New album out later this year

56:57 - Doing a tour in Germany later this year and then planning more to promote new album

WEBVTT

00:00:00.002 --> 00:00:02.084
Will Wild joins me on episode 61.

00:00:02.225 --> 00:00:08.872
A 16-year-old Will stole his first harmonica while at a party and proceeded to put the rock into the instrument.

00:00:09.513 --> 00:00:21.670
He first started performing with his sister Danny as the harmonica player in her band, but Will has always had ideas of his own and soon formed his own band with elements of rock and a heavy, driving blues style.

00:00:23.042 --> 00:00:34.213
Will has a very active YouTube channel with lots of tuition videos and great performances, such as playing the Freebird guitar solo on harmonica, as well as collaborations with other harmonica players.

00:00:35.362 --> 00:00:44.533
Will has come up with his own wild-tuned harmonicas, placing the second-position root notes in the top two octaves as draw notes, which really opens up the top end.

00:00:45.054 --> 00:00:46.915
Seidel manufacture these harmonicas.

00:00:47.457 --> 00:00:54.826
Watch out for Will's new album with a new band coming out later this year, which will see Will move more towards the genre of rock.

00:00:56.387 --> 00:00:58.970
This podcast is sponsored by Seidel Harmonicas.

00:00:59.371 --> 00:01:08.388
Visit the oldest harmonica factory in the world at www.seidel1847.com or on Facebook or Instagram at Zeidel Harmonicus.

00:01:29.530 --> 00:01:31.492
Hello, Will Wild and welcome to the podcast.

00:01:32.293 --> 00:01:32.733
Thanks, Neil.

00:01:33.093 --> 00:01:33.694
Good to be here.

00:01:33.858 --> 00:01:34.478
Thanks Will.

00:01:34.558 --> 00:01:40.983
So you're based in the UK and I believe you were born in Macclesfield and now are living in Brighton.

00:01:41.144 --> 00:01:41.685
That's right, yeah.

00:01:41.765 --> 00:01:43.325
Born in the same town as John Mayall.

00:01:43.706 --> 00:01:46.528
I was only there for like the first year of my life.

00:01:46.668 --> 00:01:50.653
Pretty much grew up in Wiltshire and then I've spent most of my adult life in Brighton.

00:01:50.832 --> 00:01:54.495
And you moved to Brighton I think to start a music course on drumming, is that right?

00:01:54.695 --> 00:01:58.539
Yeah, I was a drummer before I was a harmonica player.

00:01:58.680 --> 00:02:00.141
I used to play drums in a punk band.

00:02:00.340 --> 00:02:02.283
I applied for a music college in Brighton.

00:02:02.643 --> 00:02:05.585
After applying there was when I started really playing harp.

00:02:05.665 --> 00:02:11.092
So by the time I actually got down to Brighton and went to that college, I wasn't really interested in playing drums anymore.

00:02:11.292 --> 00:02:15.355
I just spent all my time in my room just playing harmonica instead.

00:02:15.877 --> 00:02:21.782
I've heard the story that you picked up, I think, one of those kind of novelty Guinness diatonics at a party.

00:02:22.084 --> 00:02:22.843
That's right, yeah.

00:02:23.205 --> 00:02:25.646
I kind of always found the harmonica intriguing.

00:02:25.987 --> 00:02:29.311
Yeah, I just saw one laying there, a little Guinness promotional thing.

00:02:29.550 --> 00:02:33.536
Yeah, I just picked it up, thought I might maybe learn like a Bob Dylan tune or something.

00:02:33.596 --> 00:02:34.838
There's party trick kind of thing.

00:02:35.501 --> 00:02:39.211
If I'm honest, I just found it like, I was really comfortable with it straight away.

00:02:39.231 --> 00:02:44.105
I couldn't say the same about every other instrument I've picked up, but I've never found harp difficult at all.

00:02:44.445 --> 00:02:45.810
It's never been a chore to practice.

00:02:45.950 --> 00:02:46.954
It comes very easily to me.

00:03:03.969 --> 00:03:12.477
I've got guitarists like pro guitarist friends who they always found guitar really really easy and they found harmonica really difficult and different things for different people I think

00:03:13.018 --> 00:03:30.932
yeah no it's interesting point though isn't it whether the you know people who take it up and you know become reasonably accomplished on it or you know because it comes naturally because something like you know playing guitar for example or piano or violin you know you know you've got more physical movements involved haven't you whereas obviously harmonica is you know is more less breathing obviously there's more to it than that

00:03:31.074 --> 00:03:53.015
sure I think a lot of it's in in the listening though and just sort of understanding the language of it and and i was brought up hearing sunny boy williamson and muddy waters records and stuff pretty much daily so i'd always heard that sound so when it when it came to bending and scooping you know i could kind of just do it instinctively when i started

00:03:53.377 --> 00:03:56.199
and this was your father was it who played the blues records around the house

00:03:56.759 --> 00:04:02.806
yeah he never played any music himself he used to play a lot of uh a lot of blues and rock and soul and stuff

00:04:03.067 --> 00:04:04.848
sure yeah and this this drew you to the harmonica.

00:04:04.868 --> 00:04:08.552
So it was the blues harmonica then that first appealed to you, was it?

00:04:09.174 --> 00:04:14.699
Yeah, I mean, I'd never really heard any other kind of harmonica other than, you know, Bob Dylan kind of stuff.

00:04:15.039 --> 00:04:21.987
Yeah, like I said, I was really into rock and metal and punk and stuff as a teenager.

00:04:22.427 --> 00:04:26.331
Always had this kind of ear to the blues as well because I was brought up around it.

00:04:26.572 --> 00:04:28.735
But it wasn't until I picked up that harp.

00:04:28.975 --> 00:04:31.757
I always really liked the song Help Me by Sonny Boy Williamson.

00:04:31.997 --> 00:04:36.345
And so I thought I'd try and learn that I kind of figured there aren't all that many notes in it.

00:04:36.605 --> 00:04:47.026
So if I could just find the notes on the instrument and get them to sound something like how he makes them sound with the vibrato and everything, I thought I should be able to work it out.

00:04:47.348 --> 00:04:51.735
So it was really just that song initially that made me want to play blues harmonica.

00:04:54.422 --> 00:04:54.461
Oh

00:04:58.978 --> 00:05:06.545
As I started getting more into it, I started digging out all these Muddy Waters records and just any blues record that I could find, basically.

00:05:06.944 --> 00:05:10.687
So you had your Guinness Diatonica, I assume it's a C harmonica.

00:05:10.827 --> 00:05:12.490
So help me, is it a B flat?

00:05:12.509 --> 00:05:15.672
So you quickly worked out you needed a new key, did you, I take it?

00:05:16.052 --> 00:05:22.077
Yeah, and actually that was a difficult one because even the record of that song, it's not quite an F.

00:05:22.098 --> 00:05:25.721
It's been a little bit slowed down or sped up at some time.

00:05:25.980 --> 00:05:28.923
Yeah, I think I got like a D harp and then...

00:05:28.944 --> 00:05:35.329
And A-Harp pretty soon realized I was going to need all 12, you know, just so I could play along with whatever I wanted to.

00:05:35.750 --> 00:05:35.971
Right.

00:05:35.990 --> 00:05:39.613
So as you said, though, you were sort of 16 this time when you started playing the harmonica.

00:05:39.653 --> 00:05:42.716
So this was a case then of you started getting lots of blues records.

00:05:42.737 --> 00:05:44.879
I think you listened to a lot of Muddy Waters and played along with him.

00:05:45.218 --> 00:05:46.199
Especially, yeah.

00:05:46.339 --> 00:05:56.990
First year or so of my playing was just in my bedroom playing along with the King B album, which is Jerry Portnoy, and the Hard Again album, which is James Cotton.

00:05:59.617 --> 00:06:06.447
I

00:06:06.487 --> 00:06:23.932
think if I go out and play like a straight sort of Chicago blues set as a sideman, which isn't something I do very often, but if I do something like that, I always kind of default to playing like, like Jerry Portnoy or like James Cotton, you know, and I think it's because I immersed myself in that stuff so much in the beginning.

00:06:24.252 --> 00:06:25.533
Yeah, they're great albums, yeah.

00:06:25.665 --> 00:06:27.408
You're sort of what, you're early 30s now, aren't you?

00:06:27.687 --> 00:06:29.088
Yeah, I'm 33 now.

00:06:29.288 --> 00:06:32.771
You've done very well for yourself and made a name for yourself in the harmonica world.

00:06:32.791 --> 00:06:34.153
So congratulations there.

00:06:34.252 --> 00:06:36.555
So you started playing with your sister, Danny, first.

00:06:36.574 --> 00:06:40.158
She's a performer and she's a singer, guitar player, isn't she?

00:06:40.538 --> 00:06:40.819
Yeah.

00:06:41.139 --> 00:06:43.841
Yeah, she's like a bluesy soul country singer.

00:06:44.041 --> 00:06:51.168
But she signed to Roof Records, which is a German blues label in 2008, something like that.

00:06:51.487 --> 00:07:26.565
Yeah, it was pretty handy having her as a sister, actually, because I used to play drums with her as well as in the sort of punk band i was in at school yeah so once i picked up the harp i had someone that i could play blues with straight away i think i'd i'd only really been playing the instrument for like two months when i started going out gigging and i'd probably been playing for about two years when she signed with roof and we started going out on tour around europe i got a lot of a lot of live experience that way we made a few few albums on roof records one of which was produced by mike vernon who was probably one of my favorite bands Blue's producers.

00:07:26.665 --> 00:07:30.333
He produced all the early Fleetwood Mac stuff and all the Blue Horizon stuff.

00:07:30.593 --> 00:07:38.127
I learned a lot playing in the studio with him producing and all the session musicians that he pulled in for that as

00:07:39.310 --> 00:07:41.855
well.

00:00:00.000 --> 00:00:00.000
...

00:00:00.000 --> 00:00:00.000
...

00:07:50.242 --> 00:08:20.468
i don't even know when i started my band it wasn't long after because danny wasn't playing the kind of blues that i wanted to play for the most part um at the time i i was into more like just straight ahead like chicago blues and that's what i wanted to do and that's what i thought i was doing when i go back and listen to it now it doesn't sound like chicago blues you know it's really like aggressive and like really sort of sloppy a bit punky and garagey sounding but but that's what i was trying to to do.

00:08:20.809 --> 00:08:24.312
Yeah, I started my band when I was, I don't know, 21 or something.

00:08:24.793 --> 00:08:28.899
Started writing songs and singing just so I could do the kind of material that I

00:08:28.939 --> 00:08:29.480
wanted to play.

00:08:29.980 --> 00:08:34.066
And with Danny, I think now you do still perform with her sometimes, don't you, as a duo?

00:08:34.807 --> 00:08:38.211
Yeah, we played at a festival last weekend, actually.

00:08:38.552 --> 00:08:43.359
That's really the only time we tend to play together now is like acoustic duo stuff.

00:00:00.000 --> 00:00:00.000
...

00:08:50.241 --> 00:08:56.029
in the world To spend one moment with you, girl

00:08:56.610 --> 00:09:01.094
We just booked a blues festival in Sweden later this year, going out as a duo.

00:09:01.134 --> 00:09:03.456
And that format works well for us.

00:09:03.495 --> 00:09:06.479
You know, we can both do our own separate things.

00:09:06.578 --> 00:09:14.905
And then now and again, we get to come together and do that thing, which is completely different to what I'm doing, you know, with my current band right now.

00:09:15.285 --> 00:09:15.546
Sure.

00:09:15.586 --> 00:09:15.866
Yeah.

00:09:15.886 --> 00:09:18.528
So I think most people have probably heard of you.

00:09:18.568 --> 00:09:19.769
They've heard you by now.

00:09:19.850 --> 00:09:21.991
So Will Wild, you do this rock blues, you'd say?

00:09:22.331 --> 00:09:24.995
Everything that is out there right now.

00:09:25.315 --> 00:09:25.575
Yeah.

00:09:25.774 --> 00:09:26.576
But I am looking forward to it.

00:09:26.576 --> 00:09:29.058
Launching a new band at some point this year.

00:09:29.278 --> 00:09:31.802
I seem to have been talking about this band forever now.

00:09:32.763 --> 00:09:41.292
But because I broke my neck in 2019 and then I broke my collarbone the year after and then there was a pandemic for two years.

00:09:41.392 --> 00:09:42.852
So it hasn't happened yet.

00:09:43.193 --> 00:09:45.096
Yeah, I did start a new band.

00:09:45.375 --> 00:09:48.759
It actually started out as a Will Wild record that we were making.

00:09:49.019 --> 00:09:53.945
Then it just turned out to be a hard rock record, not really a blues rock record.

00:09:54.225 --> 00:09:58.769
I decided to call it something else So I've started this new band.

00:09:58.870 --> 00:09:59.971
It's called Bad Luck Friday.

00:10:00.192 --> 00:10:06.418
We have a whole album and a couple of singles with music videos all in the can waiting to be released.

00:10:06.818 --> 00:10:14.967
But I can't let anyone hear any of it yet until we've got a release plan in place and schedule the tour and all of that stuff.

00:10:15.008 --> 00:10:17.309
But it will be at some point this year.

00:10:17.610 --> 00:10:19.873
I've been working with a guitarist called Steve Brook.

00:10:20.393 --> 00:10:23.677
Me and Steve are like the songwriting core of the band.

00:10:24.037 --> 00:10:29.143
Yeah, we spend a writing and recording and workshopping songs.

00:10:29.722 --> 00:10:32.927
And this new band is still going to be this kind of rock blues?

00:10:33.326 --> 00:10:35.129
It's just rock, just hard rock.

00:10:35.328 --> 00:10:43.677
There's maybe two songs on it which you could probably call blues rock, but not in the sort of 70s kind of classic rock, blues rock sense.

00:10:43.999 --> 00:10:49.865
We wanted to stay away from that and do something that's just kind of contemporary rock.

00:10:50.125 --> 00:10:51.427
It's mostly up-tempo.

00:10:51.626 --> 00:11:08.965
They're all songs with choruses and middle eights and not just a bunch of sort of throw away 12 bars with long solos on you know there's still some pretty like epic harp solos on there but it's kind of song first and and then the harp is like the icing on the cake you know

00:11:09.566 --> 00:11:16.693
so we'll look at your uh your rock credentials then so first of all your name so wild is a great rock name that's your real surname i take it isn't it

00:11:16.833 --> 00:11:17.875
it is it's my real name yeah

00:11:17.955 --> 00:11:20.418
great name you were born to be a rock star with that name

00:11:20.717 --> 00:11:29.486
yeah right i found what i said i found my my parents found this uh this thing in their loft when they moved house a little while ago.

00:11:29.768 --> 00:11:33.572
And I wrote it when I was, I think, five years old or something.

00:11:33.731 --> 00:11:38.856
I think at school, they asked all the kids to write on a bit of paper what they wanted to be when they grew up.

00:11:38.996 --> 00:11:42.301
And I wrote down, I'm going to sing rock and roll songs.

00:11:43.522 --> 00:11:47.145
And finding that actually kind of reminded me like what I set out to do.

00:11:47.466 --> 00:11:49.428
I kind of ended up in the blues circuit.

00:11:49.889 --> 00:11:54.774
Yeah, the last few years felt like I'd stagnated a little bit doing the same old thing.

00:11:54.813 --> 00:11:56.336
It was when I broke my neck, actually.

00:11:56.336 --> 00:12:00.821
I kind of realized that the stuff I'd been doing isn't really what I wanted to be doing.

00:12:01.221 --> 00:12:07.548
I always had this vision of just a contemporary hard rock band, but with epic harmonica in it.

00:12:07.888 --> 00:12:10.191
So, yeah, I thought I'd better get on and do it.

00:12:10.530 --> 00:12:11.172
Well, great.

00:12:11.192 --> 00:12:17.337
And I think that's, you know, that shows that you, you know, you definitely push yourself, yeah, to create new sounds.

00:12:17.399 --> 00:12:21.743
And I think, as you know, we'll talk through your albums in a sec, you can really see that, you know, you've kind of evolved through that as well.

00:12:21.783 --> 00:12:25.287
So you've had some great output so far, but yeah, good to hear that you're pushing it still.

00:12:25.527 --> 00:12:26.288
Cheers, yeah.

00:12:26.288 --> 00:12:38.538
think that probably the only person who's done something like this would be blues traveler and john popper yeah not that my stuff sounds anything like that It's a lot more down the hard rock thing.

00:12:38.577 --> 00:12:44.787
They're quite much lighter kind of sound, you know, and I'd say my lead playing is more, it's a lot more blues based than his.

00:12:44.908 --> 00:12:52.178
He kind of has his own thing going on as far as songs and choruses, but with sort of virtuoso, crazy harp solos on them.

00:12:52.298 --> 00:13:01.913
He's the only person I can think of that's done anything quite like that.

00:13:01.933 --> 00:13:02.014
Yeah.

00:13:14.721 --> 00:13:15.643
Do you know John Popper?

00:13:15.942 --> 00:13:17.163
I don't know him personally.

00:13:17.203 --> 00:13:20.226
He did post one of my videos once.

00:13:20.287 --> 00:13:30.655
He posted my video for Lazy and he wrote, I've been told not to swear, but a word that begins with F and ends with ing and then badass.

00:13:30.956 --> 00:13:35.559
So that's one of the quotes that I have on my website at the moment from John Popper.

00:13:36.061 --> 00:13:41.585
So a bit more, you know, onto your sort of rock, your approach, you know, an interest in playing rock music and rock blues.

00:13:41.644 --> 00:13:44.687
And that's, you know, something that you brought to Harmonica, which is very unique to you.

00:13:44.687 --> 00:13:48.075
as you say, blues travel may be the closest thing that you had to that.

00:13:48.115 --> 00:13:51.061
You mentioned that you listened to rock for your teenage years.

00:13:51.782 --> 00:13:54.047
Image-wise, you've got the great image.

00:13:54.086 --> 00:13:59.258
You've got the skull biting on the harmonica as your logo, which is great.

00:13:59.278 --> 00:13:59.999
Who came up with that one?

00:14:00.419 --> 00:14:00.880
That was me.

00:14:01.361 --> 00:14:03.086
I basically drew a really...

00:14:03.426 --> 00:14:10.972
bad version of it because I can't really draw took it to a tattoo artist and asked them to make a better version for me so

00:14:11.393 --> 00:14:21.020
yeah no it's great and you know you've got the image you've got the long hair you wear sleeveless t-shirts you've got large biceps as far as I can tell as well so you've definitely got that rock image

00:14:21.361 --> 00:15:40.423
yeah I don't know I suppose like most of the bands and artists that I've been into have always had a very strong image and strong sort of stage presence you know as a kid like Michael Jackson was my favorite artist you know like massive showman and then through my teens I was into like say a lot of like rock and metal bands and stuff so yeah I remember actually like starting on the blues circuit when I was about 20 or whatever my whole identity my whole life had always like my image had always been tied to whatever music I was into you know so like growing up I was like a goth and a punk or whatever whatever I was into at the time got into the blues circuit and I was like I didn't really know what what to dress like for this you know what i mean because you can't take cues from the people that come to the shows most of the people on the circuit don't really have an image you know like the the sort of what i would think of the blues image is is like john lee hooker or something with his suit and his hat and stuff but that doesn't really work unless you're one of the original like black american authentic guys so i sort of went for the 60s 70s image for a while because i thought you know all the british blues guys are I was into like Peter Green's Fleetwood Mac and free Paul Rogers and stuff or dressed like that that's because it was the 60s and 70s

00:15:41.485 --> 00:15:50.695
well it's interesting though that you know you've obviously thought about images being important right and you know you've done really well with your band so you're clearly maybe people should pay more attention to the image

00:15:50.875 --> 00:16:08.793
side well yeah I mean getting back into rock is quite good because I enjoy the whole thing you know the writing and the production and the image and everything that goes together to make the final product I think a lot of the time that stuff people just think oh it doesn't matter it's all about the music you know and it is all about the music but we're still professionals.

00:16:09.754 --> 00:16:21.888
On to the playing then for your approach to playing rock kind of music on the harmonica which is again is very unique to you and you know you definitely have come up with a you know unique sound there is something you're trying to do to try and emulate electric guitars when you're playing?

00:16:22.207 --> 00:16:36.590
Kind of I wouldn't say necessarily I'm trying to emulate the sound of the guitar because certain things work on the guitar that just don't work on the harp even if you can play all the right notes and sometimes they just sound weak on the harp.

00:16:36.649 --> 00:16:39.477
But a lot of my influence has come from guitar players.

00:16:39.577 --> 00:16:44.613
So blues guys like Albert King, a lot of my phrasing is based around that.

00:16:49.505 --> 00:16:50.948
those kind of Albert King ideas.

00:16:50.969 --> 00:16:56.421
And Peter Green, Paul Kossoff, Buddy Guy and all that.

00:16:56.581 --> 00:17:04.218
I mean, the reason I say that to some extent is I know that some of the songs on your latest album, you play guitar solos as some of your solo, at least partly, haven't you?

00:17:04.499 --> 00:17:06.723
Yeah, so there was like Lazy...

00:17:22.178 --> 00:17:24.182
All the lines on that are like Ritchie Blackmore lines.

00:17:24.782 --> 00:17:30.875
But when I'm soloing on that, just the sort of improv solo sections, I'm just doing my own thing.

00:17:30.895 --> 00:17:34.063
I don't sort of learn all the solos note for note.

00:17:34.383 --> 00:17:34.824
Sure, yeah.

00:17:35.065 --> 00:17:41.739
But there's one YouTube video you did, which is the Freebird solo, which I think you are playing the guitar solo, aren't you, on the Freebird solo?

00:17:41.778 --> 00:17:41.919
Yeah,

00:17:42.159 --> 00:17:42.519
yeah.

00:17:42.599 --> 00:17:43.422
Yeah.

00:18:04.738 --> 00:18:05.439
YouTube's different.

00:18:06.680 --> 00:18:13.586
It's all about just getting clicks and it's a bit more about sensationalism rather than art a lot of the time.

00:18:13.625 --> 00:18:19.330
But I find it fun sometimes to just take a famous guitar solo and put it onto harp.

00:18:19.651 --> 00:18:21.893
I've actually learned quite a lot by doing that.

00:18:22.874 --> 00:18:28.798
With any instrument, I think a lot of people end up playing the same kind of licks just because of how the notes lay out on the instrument.

00:18:29.019 --> 00:18:36.105
Certain licks are very comfortable to play and you end up with the harp kind of playing you after a while, after this note, you always go to that note.

00:18:36.326 --> 00:18:46.096
But with my tuning that I developed, I don't have anyone to listen to for, you know, to learn licks for this tuning because no one else has done anything with it.

00:18:46.375 --> 00:18:51.981
I realised that all the guitar stuff that I've always listened to and loved, a lot of it is possible now on this tuning.

00:18:52.042 --> 00:18:56.227
So I can go back and learn some of that or, you know, take inspiration from it at least.

00:18:56.386 --> 00:19:07.744
You know, it's interesting that approach that, you know, like you say, learning off guitars, certainly from the fact that playing rock music, you know, probably works quite well, yeah, because there isn't a lot of, well, there isn't any rock or harmonica players as we've established at least not very many

00:19:07.965 --> 00:19:23.261
even when I'm playing like hard rock stuff all of my lead playing is still blues based most of the time anyway it's still mostly centered around that minor pentatonic thing Although actually, most of the rock guitarists that I listen to are blues-based players as well.

00:19:23.342 --> 00:19:37.114
If you think of guys like Slash, Angus Young, Gary Moore, I know he's had a blues career as well, but they're all kind of blues players at heart that have just sort of adapted to rock by adding intensity and speed.

00:19:37.193 --> 00:19:40.136
And it's more just about the delivery and the attitude.

00:19:40.436 --> 00:19:43.819
And a lot of that has to do with the vibrato, in my opinion.

00:19:44.279 --> 00:19:48.023
I get a lot of harmonica players asking me, how do you play rock?

00:19:48.044 --> 00:19:49.965
And it's same as you play blues just you

00:19:51.247 --> 00:19:51.326
know

00:19:51.346 --> 00:19:52.048
just a bit more

00:19:52.087 --> 00:20:04.560
rock attitude you know the bands that you've had you've played quite a lot of rock festivals yeah so how are you received at rock festivals a harmonica player maybe by guitar players but generally by the audience i take it yeah well received yeah

00:20:04.780 --> 00:20:26.045
yeah i mean the majority of festivals i've played to date have been more blues festivals and rock but we played at the rambling man fair in in kent a few years ago and that that's just a hard rock festival it went down really well people really like It was really that day that made me realize that actually, yeah, this could work because this is a proper rock crowd.

00:20:26.265 --> 00:20:30.711
These people probably don't know much about blues, but they still get what we're doing here.

00:20:31.330 --> 00:20:34.275
I've also read that you've been called the Hendrix of the harmonica.

00:20:34.315 --> 00:20:36.116
What do you think of that label?

00:20:36.538 --> 00:20:37.818
Yeah, I don't know.

00:20:37.898 --> 00:20:39.922
I kind of liked it at first.

00:20:40.321 --> 00:20:49.211
And then I realized there's about five people that have been called to Hendrix's harmonica, like Sugar Blue, Johnny Mars, Jason Ritchie.

00:20:49.592 --> 00:20:52.654
Yeah, I'm not too keen on that anymore, if I'm honest.

00:20:53.215 --> 00:20:55.117
It's a bit of a novelty thing.

00:20:55.198 --> 00:21:06.309
But I quite liked it being on the posters and things when we toured in Germany a few years ago because the crowd on the European blues circuit, the blues scene...

00:21:06.786 --> 00:21:21.384
is primarily a blues rock scene and it's heavily dominated by guitar and kind of Hendrix, Rory Gallagher, Gary Moore kind of stuff as opposed to more traditional blues.

00:21:21.885 --> 00:21:31.358
Yeah, having the Hendrix of the harmonica on the poster just kind of made it clear that I was in another like Little Walter copycat kind of thing and it was going to be more of a blues rock show.

00:21:31.759 --> 00:21:36.526
So I didn't mind it, but Hendrix isn't really an influence on me.

00:21:36.897 --> 00:21:40.131
So you say, you mentioned that I think you've toured in Europe a lot, haven't you?

00:21:40.171 --> 00:21:43.403
Has that been the main place you've played and you've done very well over there?

00:21:43.545 --> 00:21:44.608
So how's that been?

00:21:45.057 --> 00:22:03.433
yeah so i suppose because it all started with my sister signing to to roof and so we toured a lot in germany then and then i signed to terrible record label called rock the earth records based in uh hamburg so most of my touring was over there as well but i'm out of that deal now fortunately so

00:22:03.693 --> 00:22:09.578
so your first album probably with this record label is and was in 2010 called unleashed and i think um

00:22:09.920 --> 00:22:10.160
yeah

00:22:10.599 --> 00:22:15.865
you use the same band that your your sister was using you there were session musicians you asked them to record this album with you

00:22:16.025 --> 00:22:41.893
yeah that's right basically that session that we did with Mike Vernon producing I just pulled in all the same session players that he chose for her record you know Jamie Little on drums who used to play for Sherman Robertson Roger Innes on bass who's played for just about everyone on the blues circuit Stuart Dixon on guitar who I know he used to play with Marcus Malone he's played with a lot of different people too Pete Wingfield on keys it was Pete Wingfield who recorded 18 with a bullet

00:22:42.012 --> 00:22:49.686
many years ago did you have much time to prepare for this album or was it you know you guys agreed and you know how did you choose the songs for it and that sort of thing

00:22:50.067 --> 00:23:02.736
I wrote all of that album myself demoed it up actually there was one song on there that my sister wrote for me Angel Came Down the rest of it I wrote myself I made demos for everything Really rough demos.

00:23:02.836 --> 00:23:05.358
I'm not the best guitarist or bass player.

00:23:05.859 --> 00:23:10.484
And then sent them to Jamie, who produced it and all arrived at the studio.

00:23:10.566 --> 00:23:14.830
And he had ideas of what he wanted to do with them in terms of arrangement.

00:23:14.971 --> 00:23:27.404
And it took about a week to make the whole of that album.

00:23:27.424 --> 00:23:27.766
It's pretty quick.

00:23:27.786 --> 00:23:28.125
It's pretty quick.

00:23:29.826 --> 00:23:31.357
Thank you.

00:23:35.041 --> 00:23:41.847
And then three years later, you released your album Raw Blues, which I think is definitely a development in your sound.

00:23:42.188 --> 00:23:52.576
The idea with that one was just, as the name suggests, to do more of a raw blues kind of straight ahead Chicago-y blues kind of sound.

00:23:52.836 --> 00:23:57.000
I wanted to make it not rock, but aggressive.

00:23:57.361 --> 00:24:10.295
Like if you think of the way that Buddy Guy plays blues, Paranoia is quite obviously, I think, inspired by Buddy Guy, a stylist So it's kind of just straight up blues, but just played very aggressively and in your face.

00:24:10.674 --> 00:24:13.038
And you wrote quite a lot of the album again, did you?

00:24:13.479 --> 00:24:21.288
Yeah, I think I wrote pretty much all of that, except for Get Me Some, which was a cover of an old Thomas song.

00:24:21.387 --> 00:24:23.151
He's a friend of mine from San Diego.

00:24:32.001 --> 00:24:47.518
Get Me Some Come on.

00:24:53.185 --> 00:24:56.151
You did Mean, Mistreated Mama on there.

00:24:56.991 --> 00:24:58.494
That's a definite Walter Horton one, right?

00:24:59.215 --> 00:25:00.758
As in the approach to the harp, yeah.

00:25:00.778 --> 00:25:04.585
I think the song's like Leroy Carr or something like that.

00:25:05.025 --> 00:25:10.233
Yeah, kind of like Big Walter Horton, James Cotton kind of approach to that.

00:25:17.645 --> 00:25:29.222
You're a mean, mistreated mama Your

00:25:29.262 --> 00:25:32.989
next album in 2015 is a live album, Hamburg Live.

00:25:33.369 --> 00:25:36.414
Is it some songs off previous albums, some new songs on there as well, I think?

00:25:36.954 --> 00:25:44.606
Yeah, there's songs from Unleashed, Emerald Blues, plus a few new ones as well, Put On The Road Again, a Cantique song on that too.

00:25:44.626 --> 00:26:02.365
Put On The Road Again It's a very high energy album.

00:26:02.744 --> 00:26:04.508
And I had Danny Giles on guitar for that.

00:26:05.048 --> 00:26:07.232
He's a great blues rock guitarist.

00:26:07.973 --> 00:26:13.825
So again, the approach to rock and, you know, sort of rock type blues harmonica, you know, is how much you use effects.

00:26:13.984 --> 00:26:17.310
So on the song, What Makes People, is it kind of tremolo effect?

00:26:19.213 --> 00:26:19.294
Yeah.

00:26:31.458 --> 00:26:34.413
Yeah, that was something I used to do around that time a lot.

00:26:34.594 --> 00:26:36.855
It's just the tremolo that's built into the Fender.

00:26:37.236 --> 00:26:47.224
I've seen a Fender Super Reverb at the time and I used to just set the intensity and the speed to like 10 and step on it and it'd go like cut in and out really fast.

00:26:47.545 --> 00:26:50.146
But I've never used a great deal of effects really.

00:26:50.548 --> 00:26:53.830
On that live album there's an octave pedal on some of that as well.

00:26:54.270 --> 00:27:02.178
It's interesting that you should say that though because I'm sure a lot of people probably think you do use effects because of the sort of sound and high energy you get but generally no, right?

00:27:02.538 --> 00:27:03.098
Not really.

00:27:03.138 --> 00:27:33.704
I've gone through phases you know i've gone through a few phases where i've just gone and got a load of effects and used them but like most of my stuff that you see on youtube there's not really any effects there apart from reverb and delay most of it comes from from the playing and from my tuning i remember when i was at spa convention in st louis and i was demonstrating my new tuning that i just made at the time then to jason ritchie we were just sort of standing outside and and i was like

00:27:35.233 --> 00:27:36.413
Yeah.

00:27:37.730 --> 00:27:38.510
doing all that stuff.

00:27:38.730 --> 00:27:41.814
And he said, oh, it sounds like you're amplified.

00:27:41.834 --> 00:27:44.635
And I thought that was quite cool because I always kind of thought that.

00:27:45.817 --> 00:27:47.238
So no one else had picked up on it.

00:27:47.818 --> 00:27:50.760
It's just getting a really bright tone.

00:27:50.800 --> 00:28:00.250
So you get that cut to the sound, adding that vibrato to it and make it sing, just produces this very electric kind of sound.

00:28:00.730 --> 00:28:03.231
A lot of people would say it's a guitar-like sound.

00:28:03.251 --> 00:28:07.415
As far as effects, I always have a bit of reverb or delay.

00:28:07.695 --> 00:28:12.141
Like most people, you know, it just breathes a bit of life and a bit of space into the sound.

00:28:12.500 --> 00:28:18.607
Usually the drive I just get from the amp, I don't use drive pedals very often.

00:28:18.647 --> 00:28:20.369
And that's really it.

00:28:20.509 --> 00:28:34.684
Like there'll be the odd bit in a song where I might use something more extreme, like a univibe or a wah pedal or a ring modulator or something like that, just for like one little couple of seconds in a song to produce some weird effect.

00:28:34.785 --> 00:28:39.529
But just my overall tone is really just the amp mic and some reverb

00:28:39.970 --> 00:28:52.763
on your lungs of course yeah and so in 2016 you you released a single parisian walkways which is a i think lizzie and gary moore song right which i think was a you know an important song for you and an excellent song as well

00:28:52.804 --> 00:29:36.951
absolutely yeah that does feel like a turning point for me because up until then everything i'd done or recorded had all been kind of done before to a degree like i might have had some my own licks and stuff but it was really just typical kind of blues harmonica might be a little bit faster or more aggressive than your afro player but it was really just typical blues harmonica stuff and then with Parisian that's not a song that you would I mean loads of guitar players cover it but not a song that you would associate with harmonica at all and she's in the natural minor and harmonic minor scale and it's got some some long kind of epic vibrato notes in it I just remembered listening to that back when I got the first mix from Danny Giles who who produced that.

00:29:37.211 --> 00:29:41.354
That was the first time I'd really listened to something back and gone, yeah, I'm really happy with that.

00:29:41.734 --> 00:29:42.555
That's cool.

00:29:42.695 --> 00:29:42.756
You

00:29:44.457 --> 00:29:45.397
found your sound, eh?

00:29:45.758 --> 00:29:46.138
Yeah.

00:29:46.199 --> 00:29:59.951
I really like hearing harp over different changes and over different chords, more melody rather than just the same old kind of blues licks over the same 12-bar changes that you always hear.

00:29:59.990 --> 00:30:06.096
That song, Prison Walkways, appears on your 2018 album, Bring It On Home, which has quite a lot of rock covers on there.

00:30:06.115 --> 00:30:07.096
There's That's

00:30:07.156 --> 00:30:07.657
right, yeah.

00:30:07.917 --> 00:30:09.400
So you mentioned Lazy already.

00:30:09.440 --> 00:30:10.521
That's a Deep Purple song.

00:30:10.541 --> 00:30:12.424
You've got Bring It On Home, Led Zeppelin's song.

00:30:12.444 --> 00:30:15.188
You've got Politician, which is a Cream song, and then a few others.

00:30:15.328 --> 00:30:17.310
Even Beatles song, Black Sabbath song on there.

00:30:30.249 --> 00:30:32.653
You know, what was the thinking behind doing the kind of rock covers album?

00:30:32.913 --> 00:30:47.738
Well, one, Off the back of the success of the Parisian Walkways single, I just kind of thought it'd be interesting to repeat that kind of idea, take some classic rock, more guitar-like stuff and see what I could do with it, with the harp, push the boundaries of the instrument a little bit.

00:30:48.078 --> 00:30:55.285
Two, I was in that record deal that I talked about earlier and I really wasn't happy in that deal.

00:30:55.785 --> 00:31:00.088
Long story short, the live album was supposed to be my final album of that deal.

00:31:00.409 --> 00:31:42.829
And then at the last minute, label tried to pull a fast one and to me that it wasn't going to count against the three album deal and i had to do another studio record so i was like well i'm not gonna write any more songs for this record label because i know they won't do anything at all to to promote them or to sort of help in any way so Yeah, I thought I'd just record a covers album and have some fun with it.

00:31:43.009 --> 00:31:43.652
Came out well, though.

00:31:43.813 --> 00:31:44.094
Cheers.

00:31:44.134 --> 00:31:47.022
Yeah, there were some good things to come out of that album.

00:31:47.222 --> 00:31:51.837
I'd say Lazy particularly is the one that really went down well.

00:31:52.130 --> 00:31:57.253
again it kind of pushed the boundaries a little bit and and sort of opened up new things for me

00:31:57.634 --> 00:32:08.683
so as well as your albums you've got a very active youtube channel it's clearly something that you know you put a lot of attention on you get some great videos out there uh you know i think you've got quite a big following haven't you that's something you you see is really important yeah

00:32:08.964 --> 00:32:31.113
yeah i mean especially the last couple of years you know since the pandemic obviously all the live stuff stopped so i pretty much just became like a youtuber the past couple of years but i'm You can connect with a lot more people just by posting videos on YouTube than you can going around touring clubs.

00:32:31.834 --> 00:32:35.401
So it's a really good way of growing the audience.

00:32:36.001 --> 00:32:39.508
And you've done a few collaborations on there as well.

00:32:39.528 --> 00:32:41.030
You've done one with Ellen Ohlberg.

00:32:42.574 --> 00:32:42.653
Yeah.

00:32:57.057 --> 00:32:59.140
and one with Rochelle Plass as well.

00:33:00.161 --> 00:33:02.702
Brendan Power and Roly Platt, Sarah Saputry.

00:33:02.843 --> 00:33:05.204
I might do some more at some point, someone for a while.

00:33:05.605 --> 00:33:11.190
So you've also got quite an extensive teaching library and I think you've got a teaching channel on YouTube.

00:33:11.210 --> 00:33:13.731
I think you've got about 85 videos or so last time I looked.

00:33:13.853 --> 00:33:16.855
Yeah, I haven't put up any new teaching stuff for a while.

00:33:16.974 --> 00:33:21.338
So all the videos that are up there, like tutorial type videos are quite old now.

00:33:21.719 --> 00:33:25.982
I used to just make them on my phone, you know, like no editing or anything.

00:33:26.022 --> 00:33:32.690
I'd just turn my phone on and start talking and playing but people like them and you know the content is good i think even though it's kind of

00:33:32.829 --> 00:33:41.259
it's interesting to see a lot of we'd like to say they're probably a little bit older but a lot of them are blues aren't they rather than than rock stuff so it's interesting to see that's definitely where your roots were in the harmonica playing

00:33:41.660 --> 00:33:59.818
sure yeah plus most people i think most harmonica players out there particularly those that are going to be watching you know tutorials are primarily interested in blues so sure yeah putting up sort of rock tutorials is a bit bit niche i think yeah i I am going to start making some more tutorials soon.

00:33:59.858 --> 00:34:06.046
I'm currently in the process of filming a course which will go on sale in a few months' time.

00:34:06.346 --> 00:34:06.566
Great.

00:34:06.586 --> 00:34:07.567
Is that by your website?

00:34:07.807 --> 00:34:08.148
Yeah.

00:34:08.367 --> 00:34:13.052
I'll probably be shouting about it all over my social medias and YouTube and everything soon.

00:34:13.112 --> 00:34:15.596
But yeah, there'll be links to it on the website too.

00:34:15.856 --> 00:34:20.541
So let's just touch briefly on your singing because clearly as well as a harmonica player, you're the singer in the band as well.

00:34:20.581 --> 00:34:25.186
So how did you become the singer and being a rock singer, is that something you always wanted to do?

00:34:25.425 --> 00:34:25.666
Yeah.

00:34:26.007 --> 00:34:26.927
It is always something.

00:34:26.927 --> 00:35:00.757
that I'd wanted to do from a very young age you know I was very shy as a kid so no one would ever have heard me sing growing up you know and I suppose I kind of started singing out of necessity when I was 21 or so when I started my band so I could play the kind of material I wanted on the harp it's only really the last few years that I've started to take vocals really seriously I don't know I used to just just sing you know and my technique wasn't particularly good and I was never really happy with the sound that I made.

00:35:00.797 --> 00:35:04.534
I'm not really happy with any of the vocals on my previous releases.

00:35:04.755 --> 00:35:06.041
But moving into...

00:35:06.434 --> 00:35:12.259
recording rock stuff i realized that obviously the vocals really i really need to step up vocals you know

00:35:12.398 --> 00:35:12.579
yeah

00:35:12.980 --> 00:35:24.530
and work on my power and my range and grit and distortion and all those things so yeah i've been working with with vocal coaches and putting a lot of time and effort in the vocals the last three four years now

00:35:24.869 --> 00:35:38.842
yeah i mean it's good to hear it's a familiar story on here you know there's a lot of people i interview on here who didn't feel i was confident at singing right but you know i i know i kind of knew i had to do it to be as a harmonica player and to be the band leader yeah so it's a similar journey to you yeah

00:35:39.103 --> 00:36:03.849
yeah i mean the with the new record like i said i'm not trying to appeal to just the niche harmonica audience or the niche kind of blues audience with this we're kind of going for the the mainstream rock market it doesn't matter how good your harmonica solos are you know if the songs and the vocal aren't good then it's just not going to go anywhere you know i'm fully aware of that

00:36:04.110 --> 00:36:10.295
got you um i've got you singing on blues is my first love is that is that you rapping on that song oh god yeah that was a long time ago

00:36:11.878 --> 00:36:27.914
yeah that

00:36:27.954 --> 00:36:35.643
was like how long ago was that any rapping on your new album no there's not been any rapping since since that release actually

00:36:36.264 --> 00:36:37.965
so So you got yourself definitely noticed.

00:36:37.985 --> 00:36:39.407
You got yourself some TV work.

00:36:39.447 --> 00:36:44.934
You did a cat advert for an insurance company playing some nice bluesy harmonica on that

00:36:45.335 --> 00:36:45.394
one.

00:36:45.414 --> 00:36:45.596
Yeah,

00:36:45.815 --> 00:36:45.956
more

00:36:45.996 --> 00:36:49.059
than insurance advert with the cat and the dog on the port.

00:36:49.159 --> 00:36:49.280
You

00:36:52.123 --> 00:36:54.286
can't always tell why your pet's got the blues.

00:36:55.188 --> 00:37:00.014
That's why more than pet insurance comes with VetPhone, a 24-hour

00:37:00.213 --> 00:37:02.076
pet advice line.

00:37:02.257 --> 00:37:03.358
Man, that cat can play it.

00:37:03.617 --> 00:37:07.420
That was my friend Danny Giles actually on the guitar for that.

00:37:07.561 --> 00:37:08.882
He was the dog and I was the cat.

00:37:09.123 --> 00:37:13.646
We got approached by some friends who run a sort of sync company.

00:37:13.766 --> 00:37:17.489
And yeah, they were pitching for this advert and needed a blues thing.

00:37:17.550 --> 00:37:19.010
And we were the first people that

00:37:19.130 --> 00:37:19.791
they thought of.

00:37:20.152 --> 00:37:20.873
Yeah, superb.

00:37:20.893 --> 00:37:22.014
Yeah, no, it's nice to have it.

00:37:22.514 --> 00:37:23.255
I love it at the end of it.

00:37:23.275 --> 00:37:24.976
He says, oh man, that cat can play.

00:37:25.177 --> 00:37:25.396
Yeah.

00:37:25.737 --> 00:37:27.458
That's a very good line for the harp there.

00:37:27.559 --> 00:37:30.221
And you've got some other bit of TV stuff.

00:37:30.300 --> 00:37:32.182
You've been on the Yolanda band sort of.

00:37:32.402 --> 00:37:33.583
Yolanda's band jam, yeah.

00:37:33.583 --> 00:37:34.704
Yeah, it's like a

00:37:34.965 --> 00:37:35.786
popular kid's show.

00:37:36.005 --> 00:37:36.206
Yeah.

00:37:36.405 --> 00:37:38.809
We talked a little bit about your YouTube channel teaching.

00:37:38.869 --> 00:37:46.014
So another thing that you do as well as your YouTube is you teach at the Euro Blues Week, which is an event, a week-long event in the UK.

00:37:46.414 --> 00:37:46.655
Right.

00:37:47.036 --> 00:37:55.103
So you're teaching there again this year, July 31st to August 5th, I think the dates are, along with Grant Dermody is the other harmonica player, isn't he?

00:37:55.503 --> 00:37:55.882
Yeah.

00:37:56.264 --> 00:37:56.523
Yeah.

00:37:56.603 --> 00:37:59.266
I think there might be one or two others as well.

00:37:59.445 --> 00:38:03.369
I think Mark Wenner from the Nighthawks is coming over for that.

00:38:03.617 --> 00:38:05.324
Eddie Martin might be there as well.

00:38:05.644 --> 00:38:07.170
Yeah, Eddie Martin is there, yeah.

00:38:07.190 --> 00:38:09.697
Right, I don't know if he's teaching harmonica or slide guitar.

00:38:09.717 --> 00:38:10.480
He does it all.

00:38:10.981 --> 00:38:14.512
Yeah, it's a really good week, you know, if anyone can make it.

00:38:15.376 --> 00:38:17.061
It's like an acoustic blues week.

00:38:17.474 --> 00:38:19.456
And it's not just harmonicas.

00:38:19.655 --> 00:38:23.900
There's groups of guitarists and slide guitarists and vocalists as well.

00:38:23.940 --> 00:38:27.563
So there's different workshops going on all day.

00:38:27.623 --> 00:38:29.304
So you can pick and choose.

00:38:29.324 --> 00:38:33.307
You can come sit in with me for a bit and then go off with Grant.

00:38:33.407 --> 00:38:35.869
You can even go and do some guitar for a bit if you wanted to.

00:38:36.130 --> 00:38:43.056
And there's loads of chance to jam and play with other people and perform in the evening as well.

00:38:43.096 --> 00:39:02.057
I'm basically completely self-taught as a harp player, except for I went on one of these blues week things when I was like 16 I went on one of their weeks and one of their weekends and yeah I learned some of the sort of fundamentals there and then that kind of set me up set me up for life really

00:39:02.759 --> 00:39:06.664
and as well as this you also you give Skype lessons as well don't you if people are interested

00:39:07.083 --> 00:39:14.494
yeah still doing lessons on Skype so I do have some availability at the moment if anyone's interested in that just give me a message through the website

00:39:15.233 --> 00:39:19.978
question i ask each time will is if you had 10 minutes to practice what would you spend those 10 minutes doing

00:39:20.760 --> 00:39:45.463
for me it varies i don't really ever have like scheduled sort of routine like planned out you know now i'll practice this kind of thing you know it's really just if i get an idea in my head that i want to be able to do or if i just hear something on the record i'm like oh what's that this week it was i heard gary moore doing a thing something like that on the guitar.

00:39:45.483 --> 00:39:48.929
I was like, oh, I haven't really heard someone do it quite like that on the harp before.

00:39:48.989 --> 00:39:50.650
Like, I wonder how that would sound on the harp.

00:39:51.052 --> 00:39:53.335
So yeah, it's trying to get that up to speed and the sound right.

00:39:53.514 --> 00:39:58.242
But main things I tell people to practice are, one is scales.

00:39:58.601 --> 00:40:01.907
And these are all things I'm going to go into on my course when it comes out.

00:40:02.447 --> 00:40:03.148
One is scales.

00:40:03.228 --> 00:40:10.018
You know, as harmonica players, we're really just soloists, you know, especially as a blues harmonica player.

00:40:10.077 --> 00:40:12.862
It's not, it's not about learning scales.

00:40:13.090 --> 00:40:41.681
songs you know it's about improvising solos over blues songs you know and to do that you definitely need to know need no scales you don't need to know very many just the the blues scale and the major pentatonic scale that that's pretty much it you know you don't really hear anything else other than that so scales get them you know so you can move around them at speed fluently and you Then just working on your sound and all the nuances.

00:40:42.242 --> 00:40:45.507
So it's one thing just playing the notes.

00:40:47.590 --> 00:40:47.791
But...

00:40:53.059 --> 00:40:58.909
Getting the vibrato and the scoops and the tone and all these little...

00:40:59.297 --> 00:41:06.387
inflections that make it sound vocal and soulful and interesting rather than just playing the notes.

00:41:07.268 --> 00:41:09.271
And chromatic harmonica, do you play on it?

00:41:09.391 --> 00:41:12.175
I thought I heard you playing on My Brother Jake.

00:41:12.255 --> 00:41:13.998
Is that you playing chromatic harmonica on there?

00:41:14.298 --> 00:41:27.478
Yeah, I do play chromatic on there.

00:00:00.000 --> 00:00:00.000
...

00:00:00.000 --> 00:00:00.000
...

00:41:32.449 --> 00:41:36.476
Yeah, I do a fair few sessions, like recording sessions on Chromatic.

00:41:37.219 --> 00:41:39.884
Usually in the sort of Stevie Wonder style.

00:41:40.644 --> 00:41:45.353
I don't really do the sort of West Coast, like jump blues kind of thing.

00:41:45.835 --> 00:41:46.695
Never really got good at that.

00:41:46.795 --> 00:41:51.965
But yeah, I like to use Chromatic for playing really kind of sweet, happy songs.

00:41:52.065 --> 00:41:56.150
uplifting kind of solely pop kind of stuff like like stevie wonder uses it

00:41:56.530 --> 00:41:59.492
so have you spent a lot of time working on chromatic chops

00:42:00.452 --> 00:42:24.153
not really i mean a lot of it it just translates from the diatonic but because well i really only use it for recording sessions these days you know i'm not particularly great at improvising on it in in certain keys especially you know but if i'm just recording a solo for someone then i'll spend a bit of time just on whatever is required for that.

00:42:24.253 --> 00:42:25.396
Yeah, you kind of work it out.

00:42:25.416 --> 00:42:25.856
Yeah,

00:42:27.677 --> 00:42:32.043
just get into it and I can have as many runs as I need to.

00:42:32.103 --> 00:42:39.550
So I can really trick people into thinking that I'm pretty good at it, but you wouldn't want to hear me trying to improvise on it.

00:42:39.690 --> 00:42:40.751
It would be a lot of bum notes.

00:42:41.432 --> 00:42:44.896
We touched on a few times already about your wild tuned harmonicas.

00:42:44.996 --> 00:42:48.179
So what made you come up with that?

00:42:48.199 --> 00:42:50.081
I think you were inspired by Brendan Powers.

00:42:50.663 --> 00:42:51.664
Was it his Power Bender?

00:42:51.903 --> 00:42:51.983
Yeah.

00:42:51.983 --> 00:42:53.085
Yeah, absolutely.

00:42:53.126 --> 00:43:01.918
I was inspired to create some kind of tuning by just through years and years of frustration with Richter tuning.

00:43:02.458 --> 00:43:04.902
I still play Richter tuning like most days.

00:43:05.342 --> 00:43:10.750
I still love it for certain things, but I've always been frustrated by it.

00:43:11.170 --> 00:44:39.436
particularly with not being able to put vibrato and scoops on all the notes that I want to put it on and a lot of that has to do with the fact that I've always had good guitar players in my band and a lot of them have been like blues rock kind of players like Danny Giles especially who was on the live album the Bring It On Home album has a kind of Gary Moore kind of style to him yeah so guitarists one thing they do a lot is they'll put a lot of vibrato on that on on the root note an octave up but we can't do that in second position because our root note is the sixth blow which doesn't bend so i made that a bendable draw note that bends a full tone just like hole two so yeah holes one to five are just like the same as richter holes six seven and eight are a repeat of two three and four so anything you do in the lower octave octave in holes two three and four you can now do in the upper octave in just the same way you've got your flat five and your minor third as draw bends so you don't need the overblow and the overdraw and then hole nine is just like hole two again so you've got your root note on the draw it bends a whole step And then Horten is something that I nicked off of Brandon, which is just to reverse the blow and the draw reads.

00:44:39.918 --> 00:44:45.353
So the blow band that you have in Horten becomes a draw band.

00:44:45.574 --> 00:44:46.777
And it is pretty similar to...

00:44:47.233 --> 00:44:55.626
Brendan's power bender and power drawer tunings, but I think there's about four reeds different, but those four reeds do make quite a big difference.

00:44:56.148 --> 00:44:58.010
You've also got a minor tuned one as well, haven't you?

00:44:58.592 --> 00:45:01.797
Yeah, always liked natural minor tuning.

00:45:02.197 --> 00:45:07.626
I find it very useful for anything really that needs the full minor scale rather than just the pentatonic.

00:45:08.208 --> 00:45:17.666
So if you think about it, natural minor tuning is just Richter, but with the 3rd and 6th degree of the scale flattened when you're playing in second position.

00:45:18.148 --> 00:45:24.528
So wild minor tuning is just like a natural minor version of the wild tune and I just flattened the thirds and the six.

00:45:24.789 --> 00:45:27.353
So you get a minor third and a minor six instead of

00:45:27.653 --> 00:45:28.074
major ones.

00:45:28.775 --> 00:45:31.259
So what do you think the advantages of your tuning are?

00:45:31.679 --> 00:45:40.311
You know, it definitely opens up the top end so you can play it in the same as the bottom end, but obviously you've got the root note on the sixth draw as well as you've touched on.

00:45:40.331 --> 00:45:45.617
So is it, do you think it's mainly opening up the top end and in that sixth draw, is that the main advantages?

00:45:46.039 --> 00:45:49.940
Definitely it was at the top end and The middle as well.

00:45:50.041 --> 00:45:52.646
I do a lot more stuff in that middle octave.

00:45:52.865 --> 00:45:55.911
It's because you've got four, five and six draw in a row.

00:45:55.931 --> 00:47:10.050
So there's a lot of stuff that I do in the middle octave now that I never did on Richter, even though I had the same notes there just having them laid out differently changes things a bit yeah sure yeah but yeah you've got minor third and the flat five in the upper octave which if you think about it it's it's kind of ridiculous that you don't have those on a standard harp with you know unless you're an overblow player with this being primarily we associate the harmonica as being a blues instrument and you know 90 percent of blues harmonica you hear is in second position and there are two notes missing from the blues scale in one of the octaves so i've always thought that was kind of ridiculous and and needed needed addressing but the the main thing even more so the notes is just what you're able to do with the notes so you know the the root third fifth and flat seven are always on a draw or a draw band in my tuning and they're always you know bendable so you can add that so You can put as much vibrato and expression on them as you like in the same way that guitar players do.

00:47:10.710 --> 00:47:16.356
I'll put links onto the podcast page so people can obviously go and find more details about your tunings and everything on your website.

00:47:16.376 --> 00:47:16.835
So that's great.

00:47:17.416 --> 00:47:20.259
You now have these manufactured for you by Zydle, yeah?

00:47:20.378 --> 00:47:23.641
So they make an 1847 and a Session Steel version.

00:47:23.681 --> 00:47:27.646
So did you make the tuning yourself first and then get Zydle?

00:47:27.666 --> 00:47:28.746
How did it come about with Zydle?

00:47:28.967 --> 00:47:30.809
Yeah, I made the first ones.

00:47:31.248 --> 00:47:34.572
I did experiment with a few different tunings first.

00:47:34.831 --> 00:47:44.922
before arriving at this one, and Brendan Power very kindly sent me a couple of his tunings to try out, and they were almost what I was looking for, but not quite right for me.

00:47:45.242 --> 00:47:48.427
But they did really help to inspire the tuning that I've ended up with.

00:47:48.686 --> 00:47:56.916
So I made the first ones myself, got my little grinding tool, and just kind of ground the ends of the reeds down to retune it.

00:47:57.135 --> 00:48:01.119
Yeah, and then I got Seidel to make some just for me.

00:48:01.541 --> 00:48:06.726
Using their configurator, so you kind of ordered the right read yeah

00:48:06.786 --> 00:48:31.632
that's it yeah and then I was at the spa convention and I gave a talk about tunings and about this tuning in particular and Bertram from Seidel was there and he really liked the idea of it so I spoke to him and Lars who's the head of Seidel in Germany see if we could do something and make it available commercially and it's been pretty successful

00:48:31.813 --> 00:48:37.099
yeah fantastic well done for that coming up with your own tuning that's got to be a definite amount of pride with that.

00:48:37.278 --> 00:48:42.264
Yeah, it's the one thing really that has changed my style more than anything else.

00:48:42.664 --> 00:48:46.027
I don't really care what amp or mic or pedal or whatever I play through.

00:48:46.047 --> 00:48:49.150
If I have this, I can play like me.

00:48:49.411 --> 00:48:52.735
So you're mainly using this tuning when you're performing and recording, are you?

00:48:52.934 --> 00:49:03.065
Yeah, a lot of the sessions I do for other people, I still use Richter just because usually if someone wants some moniker on a record, they want that kind of old school sound that they've got in their head.

00:49:03.085 --> 00:49:10.014
They don't want something really progressive But yeah, on my gigs, I pretty much use this tune-in exclusively.

00:49:10.054 --> 00:49:12.956
And when was the first time you recorded on your albums?

00:49:13.516 --> 00:49:14.679
Lazy was the first song.

00:49:15.199 --> 00:49:20.043
And actually, when I recorded Lazy, I'd only been using the tune-in for like a week.

00:49:21.186 --> 00:49:23.608
So yeah, got a lot better on it since then.

00:49:23.648 --> 00:49:24.409
That was a few years ago.

00:49:24.528 --> 00:49:28.452
Yes, that is interesting because that's currently the last album you've released, right?

00:49:29.313 --> 00:49:30.094
Yeah, right.

00:49:30.155 --> 00:49:32.697
So do you use it on many other songs on that album?

00:49:32.878 --> 00:49:33.818
Yeah, it's on a few.

00:49:33.838 --> 00:49:34.639
I can't really remember.

00:49:34.639 --> 00:49:37.639
remember now i think it's on the end of politician

00:49:56.481 --> 00:50:01.847
But I think that's interesting because, as you say, you probably hadn't been playing it for that long when you recorded this album.

00:50:01.867 --> 00:50:09.112
So your next album, which you've talked about, you're going to have definitely a new level of wild tunes playing, yeah?

00:50:09.592 --> 00:50:20.822
Yeah, and I couldn't really have made a hard rock album before I had this tuning, I don't think, because I would have felt too restricted with what I was able to do.

00:50:20.862 --> 00:50:26.387
Whereas now I can get all the intensity that I want for playing heavier stuff, so...

00:50:26.447 --> 00:50:31.713
like you say, that intensity and the vibrato and the root note, particularly the sixth draw and what is now the ninth draw, isn't it?

00:50:32.253 --> 00:50:32.514
Yeah.

00:50:32.875 --> 00:50:38.481
It really lets you get that intensity and also, yeah, which you don't get, you know, on the blown notes quite the same, do you?

00:50:38.501 --> 00:50:43.806
So, as well as having the wild tune created for you by Seidel, you're also a Seidel endorser, yeah?

00:50:44.186 --> 00:50:45.829
Yeah, I have been for a long time now.

00:50:46.148 --> 00:50:49.132
You're clearly playing Seidel harmonicas, which are your favourite?

00:50:49.311 --> 00:50:50.994
The 1847, definitely.

00:50:51.034 --> 00:50:55.438
I still can't really make up my mind between 1847 classic and silver.

00:50:55.458 --> 00:50:58.903
I don't think there's a lot between them one's plastic comb one's wood

00:50:59.204 --> 00:51:00.465
have you tried the lightning

00:51:00.505 --> 00:51:01.266
yet i haven't

00:51:01.347 --> 00:51:11.302
actually no i've got to say i i got one i tried it for i thought yeah it's quite nice and then i picked it up again more recently and i've got to say i really love it genuinely so uh yeah definitely worth giving them a go

00:51:11.623 --> 00:51:24.612
yeah i will do i mean two of my favorite players charlie musterwhite and james cotton used the side late in 47 so and i think my kind of attack is is quite similar to there's work for them it works they work well for me as well so

00:51:24.871 --> 00:51:33.400
yeah fantastic so you've talked about using different tunings clearly you like minor tunings with your wild minor tuning do you use any other tunings besides minor

00:51:33.619 --> 00:52:10.461
yeah i mean the three i've always used have been obviously richter natural minor and country tuning so richter for for doing the typical like major and minor pentatonic kind of thing country tuning when you want to get the full major scale but you want that kind of cross up country-ish expression and natural minor obviously for fully minor stuff i've had a couple of others like i've got one there's a video on youtube i did ages ago called progressive metal and a tune and i made for playing frigid and dominant which is pretty cool.

00:52:10.822 --> 00:52:14.606
And there's other ones, other slight variations that I've made.

00:52:15.025 --> 00:52:21.791
So although you only use the wild tuning on your last album, sounds like you were maybe using different tunings on your early albums as well, were you?

00:52:22.052 --> 00:52:26.876
I think on my albums, the only other tuning you would hear would be the standard, like, natural minor.

00:52:27.617 --> 00:52:28.797
Do you play any overblows?

00:52:29.318 --> 00:52:32.981
I do, and, you know, I don't use them a lot, but I can overblow.

00:52:33.222 --> 00:52:34.583
There's a couple in Lazy, actually.

00:52:34.623 --> 00:52:38.306
But I tend not, you know, because I don't play jazz.

00:52:38.586 --> 00:53:00.130
I don't do many, like, chromatic runs and when i'm playing blues and rock these days i'm mostly using my tuning and the only note you you need to overblow for on my tuning is a minor sixth in second position i don't need six overblow because i've got it as a draw band i don't need the five overblow because i've got that as a draw band and i don't need the uh seven overdraw because i've got that as a draw band so

00:53:00.610 --> 00:53:06.556
exactly i was going to make that very same point i think your tuning lends itself for those missing notes doesn't it that you know overblows aren't so key are they

00:53:06.657 --> 00:53:17.887
yeah i always although i can you know i've got no problem over but i much prefer the sound at least in in my own playing when you have a note as a natural draw note or natural draw band

00:53:18.347 --> 00:53:23.492
and what about your embouchure you were tongue blocking puckering or to get that big sound you get puckering

00:53:23.911 --> 00:53:41.793
95 percent of the time i'd switch all my bands are always played puckered sometimes i'll switch just for one one or two notes when i want a tongue slap or something obviously i use octaves with the tongue if i'm playing like an old school big water horton kind of shuffle then i might play it all tongue-blocked, but mainly puckered.

00:53:41.914 --> 00:53:50.530
Yeah, I was going to say, does your wild tuning lend itself maybe better to playing puckering because you're not playing, you know, the kind of tongue slaps and the sort of traditional tongue-blocking technique?

00:53:50.550 --> 00:53:52.775
It's mainly to do with the tone.

00:53:52.795 --> 00:53:55.822
I like having a bright tone.

00:53:56.021 --> 00:54:01.853
I know a lot of old-school kind of blues players like a really fat, bassy tone.

00:54:02.114 --> 00:54:03.474
which you get from tongue blocking.

00:54:03.755 --> 00:54:07.077
But for rock, you need that cut to the sound.

00:54:07.117 --> 00:54:10.822
You don't actually want a load of low end in it and you need more treble.

00:54:10.902 --> 00:54:13.923
So you definitely cut through the mix more with a pucker.

00:54:14.465 --> 00:54:16.646
And what about microphones, amplifiers?

00:54:17.246 --> 00:54:25.474
Yeah, the amp I've used on my latest record, which isn't out yet, is a Mesa Boogie Mark V, which isn't a typical harp amp at all.

00:54:25.713 --> 00:54:26.434
Is that a tube amp?

00:54:26.695 --> 00:54:28.297
Yeah, loads of guitarists use them.

00:54:28.597 --> 00:54:32.079
I think John Popper may have used one for harp, but I don't know.

00:54:32.079 --> 00:54:34.222
don't think I've ever seen another harp player use them.

00:54:34.362 --> 00:54:39.788
They're very high gain, so they're pretty prone to feedback when you plug a mic into them.

00:54:40.489 --> 00:54:43.952
But in the studio, that's fine because you just put the amp in another room.

00:54:45.293 --> 00:54:50.960
So live, I've been using my Fender Vibralux Reverb lately.

00:54:51.280 --> 00:55:07.097
I was just using a standard Shure SM58 for the last few years until very recently a friend and fan of my music sent me a Beyerdynamic m88 which i've been using because it's it's really nice very strong output and

00:55:07.679 --> 00:55:07.838
nice

00:55:07.918 --> 00:55:08.500
mid-range and

00:55:08.619 --> 00:55:10.422
so that's another dynamic mic then

00:55:10.722 --> 00:55:11.043
yeah

00:55:11.103 --> 00:55:13.846
yeah kind of like a kind of vocal dynamic mic that's right

00:55:13.925 --> 00:55:14.166
yeah

00:55:14.387 --> 00:55:18.992
so you're definitely keeping away from the kind of traditional bullet type microphones or harmonica that's

00:55:19.132 --> 00:55:26.862
yeah the main reason really is i just don't feel as comfortable performing with it in my hand you know stick mic just

00:55:27.362 --> 00:55:29.164
Are you singing through a different mic?

00:55:29.786 --> 00:55:30.047
Yeah.

00:55:30.347 --> 00:55:34.655
Do you use a small amp sometimes in smaller gigs, duo gigs and that sort of

00:55:34.675 --> 00:55:34.795
thing?

00:55:34.815 --> 00:55:47.416
I was using the Honey Boy 5, like 5-watt tube amp for a while, but I found, especially when I started doing the heavier stuff, it just wasn't quite powerful enough for me on stage.

00:55:47.697 --> 00:55:48.418
But it did sound great.

00:55:48.900 --> 00:55:53.949
Sometimes if I want that traditional Chicago vibe, little Walter kind of sound.

00:55:53.989 --> 00:56:00.222
I use a really small little turntable extension speaker that I have in my studio.

00:56:00.262 --> 00:56:01.684
That's got a little oval speaker in it.

00:56:01.965 --> 00:56:05.152
And that sounds good because you can, you can basically max out the volume on it.

00:56:05.413 --> 00:56:13.048
So you get some really nice natural breakup, but yeah, mainly I use, use fenders two tens or four tens on stage.

00:56:13.793 --> 00:56:14.255
Yeah, great.

00:56:14.275 --> 00:56:18.621
And so final question, you've already talked about you've got a new album coming out.

00:56:19.163 --> 00:56:21.085
Did you say when we can expect that out?

00:56:21.967 --> 00:56:28.557
I don't want to say until the date is actually confirmed, because I really don't know at the moment.

00:56:28.637 --> 00:56:32.684
But I can say I got the masters for the album last week.

00:56:32.704 --> 00:56:33.746
It's sounding really good.

00:56:34.018 --> 00:56:41.644
and we've made music videos for the first two singles so just gotta to uh get the sort of release plan in place

00:56:42.005 --> 00:56:50.371
and so you mentioned you're out of this record contract with this german company uh yeah so are you releasing this independently are you with another record company

00:56:50.711 --> 00:56:56.077
i'm not entirely sure yet i'm in in talks with with a label at the moment but we we still need to discuss

00:56:56.277 --> 00:57:05.990
okay yeah yeah great and what about um touring you've been doing a lot of touring so uh before the pandemic are you you know managing to get out there more now i've got some tours left end up hopefully in the back of this album you're going to release?

00:57:06.492 --> 00:57:07.657
Yeah, the gigs are coming back.

00:57:08.079 --> 00:57:10.949
I haven't been booking gigs lately because...

00:57:11.362 --> 00:57:44.632
of the fact that you know i've started this new band bad luck friday so i'm not really actively looking for will wild blues gigs at the moment because i don't want them to get in the way of the new band when that starts so i need to get get the record out and then we can hopefully get get a tour off the back of that i am doing a tour in germany this october though something called the brighton blues cartel uh it's basically a package tour three blues artists from brighton or touring germany together my friend danny giles is is on it and and steve brooke as well so yeah that should be fun

00:57:44.952 --> 00:58:18.670
so thanks so much for joining me today will wild thanks for having me thanks to zidel for sponsoring the podcast and be sure to check out the great range of harmonicas and products at www.zidel1847.com or on facebook or instagram at zidel harmonicas thanks so much for will wild for joining me today great stuff from will and he's really taking the harmonica in new directions with his rock style fantastic stuff Check out the podcast website at harmonicahappyhour.com and remember to check out the Spotify playlist which contains all of the tracks played during the episode.

00:58:19.050 --> 00:58:26.380
It's just over to Will now to play us out with his take on the great Thin Lizzy and Gary Moore track Parisian Walkways.

00:58:29.786 --> 00:58:29.885
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