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MARCUS MALONE
“Detroit Blues” – Penrith Live Blues – 30th November 2002

I’m not sure which mythical assembly line Detroit blues vocalist supreme Marcus Malone was plucked from, but such were his stage mannerisms and silky smooth vocals that he could have easily opened for Smokey or Martha a few decades ago. Marcus cut a charismatic figure in regulation “U.S. rock star garb” of leather trousers and emblazoned t-shirt, and a spotted bandana which lent a slight hint of Hendrix to the proceedings. Like that proto-rock/blues legend Marcus also, on occasions, slung a Fender round his neck and, when the mood took him, beefed out his superb band’s arrangements with a few choice licks. His musicians, fresh-faced and eager, looked as though they had been plucked from a sixth form “Battle of the Bands” contest, but their youthful looks belied their flair, precision and professionalism. Their enthusiasm and drive contrasted with the more laid back groove of their mentor. Marcus is a songwriter who uses traditional blues forms and concerns – drinking, cheating, leaving, staying, etc. but infuses them with a thoroughly modern sensibility. Operating in similar territory to Robert Cray, but with a rootsy southern feel rather California smooth, Marcus’ songs were good, and often very good. They had a certain familiarity after a few bars, always the mark of a skilled songwriter, but were structured to give extended workouts rather than be merely three minute tunes. “Good love, gone bad”, a storming number with an infectious chorus, could have been vintage era Bad Company, while “Blue Radio” recalled the swirling, rolling blues workouts of “L.A.Woman” period Doors. Even better was “Walk Away” a slow burning ballad where the roots of soul, country and blues met at the dark end of a Memphis street. As if not to be upstaged by their leader’s wonderful vocal performances, the band pulled out all the stops in their backing duties. Twin lead guitarists Stuart Dixon and Dan Smith duelled at the front of the stage reeling off exciting crescendos of sound, while drummer Chris Nugent and bassist Brad Waissman, tasteful when required, underpinned their music with a heavy duty driving rhythm that always swung. Best moment for many was the triple guitar “axe attack” that climaxed one chooglin’ boogie. A pure Lynnrd Skynrd moment of bravura excitement! The ecstatic audience were by now responding to Marcus’ promptings with gospel hall zeal, calling for and receiving four encores. What a night again at Cumbria’s best kept entertainment secret. Thank you Nick for all the unpaid hard work that makes this thing work so well.

MICKLETON R&B CLUB
COUNTY DURHAM, UK

On Saturday night Mickleton R & B club hosted its fourth gig and proved once again that there is a demand for quality live music in our village halls. Testament to the club’s sustained popularity was the fact that there was a hefty queue outside the doors before 8.00 pm despite absolutely torrential rain, with audience members from the dale but also from much further afield braving the elements in order to claim a seat for the night and get to the bar!

Marcus Malone hails from Detroit, although he now lives and works mainly in the UK and Europe. On his website (www.marcusmalone.com) he writes of his upcoming gig at Mickleton “Been informed it’s all sold out in Mickleton….and the natives are restless. As usual me and the boys plan to give them more than they anticipated”. “The boys” were the Marcus Malone Band: Brad Waissman on bass, Stuart Dixon on guitar, Moz Gamble on keyboard and Chris Nugent on drums. They exploded onto the stage just after 9.00 pm, and were greeted enthusiastically by the “restless natives” who were on their feet and dancing well before the end of the first set.

Marcus Malone is a consummate performer and with his engaging and charismatic smile he reaches out to his audience and manages to include them all in his evident enthusiasm for his art. He writes all his own songs, and we were treated to the full range of his talent with upbeat numbers like “Funk Groove” which began the first set and the strong “Heart for Rent” which filled the space with its electric pulse and energetic rhythm, as well as more melodic ballads such as “One More Time” and the memorable “Walk Away” in which Marcus and the band took their audience on an electrifying journey of sound. This was sophisticated stuff; the band were powerfully tight and yet were given full rein to express themselves, with particularly memorable performances from young Stuart Dixon sliding mesmerically on guitar and a cheeky Moz Gamble dancing around his keyboard whilst hammering out the music.

By the time the band returned for the second set the hall was buzzing, and Marcus and the boys were greeted with shouts, whistles and storming applause. The energy continued to grow as the night wore on, and by the end, with the dance floor packed and many on their feet at the back of the hall, we were reluctant to let him go. He had certainly given us more than we had anticipated; this was one of the best Mickleton R & B nights yet and we hope there are many more to come.

Jill Cole
04.11.02

BLUES MATTERS!
14th Annual Burnley Blues Festival
Burnley, UK
Monday 1st April 2002
Mike Prendergast

A short break again before Detroit born Marcus Malone enters the fray with an explosive set of mostly self-penned material, the bulk of which was taken from his new album "Walking Shoes."

Marcus doesn't play guitar on stage these days, which gives him a lot more freedom to express himself with his vocals. The guitar duties are now performed by twin guitarists Dan Smith and Stuart Dixon. These young guys can really tear the place down and trade licks all night long, even playing each others guitar at one point while still wearing their own! The rock-solid rhythm section of Adam Roman on drums and Brad Weismann on bass keep the pot boiling nicely while Moz Gamble supplies colourful key's.

Marcus sings with a sweet soulful voice and has us all in the palm of his hand throughout an enjoyable show. Now that Nicky Moore has retired, I think we can safely say that Marcus is the new "Voice." He has to be the most natural singer on the currant RnB circuit. He can handle Blues, Rock and Soul very convincingly.

He always gives great value for money and I have yet to hear anyone complain that his performances are not up to scratch.

Marcus Malone Band.
Black Bull Blues Club, Blaydon, Newcastle upon Tyne
Saturday 2nd February 2002

Something quite unusual happened this evening. Whisper it, but it involved, well, the 'D' word. Perhaps I can bring myself to tell you of it later. But first, Marcus Malone. Heard about him, read about him, and all good, but hadn't seen him until tonight. But hell, I'll be seeing him again. This guy is magic. He has a voice like sugared beans. We decided to give Marcus a gig on the strength of his CD 'One More Time'. Look, this is a CD that is a must for anyone's collection. It's smooth, it's punchy, it's rock-tinged blues, and yet it does not do justice to Marcus' live performance. Backed by a four-piece band, the fact that they had only been on the road for a few gigs together before descending on the Bull was not apparent. They were tight with a capital 'T'. That's 'T' by the way and not the previously mentioned 'D'. So. Marcus takes the stage at nine for the first of two sets. He explains that all we will hear, is all his own. There are no covers. He opens with 'Hear My Train', a new one not on his current CD but presumably destined to be on his next. The Bull crowd is silent during this rendition but give loud applause at the end. Incidentally, the Bull crowd is always silent during the performance of every band. They are after all, here for the music. None of this dancing malarkey for them. However, Marcus does not know this, and after the first of five numbers from his CD, 'Pride and Joy' he asks "Are you with me?". A resounding "Yeah" from the audience brings a big smile from the man. He is now set to deliver. 'Tell Me Why' is the next from his album, and that is followed by three new numbers 'Walk Away', 'Supernatural Thang' and 'Walking Shoes', all received with a growing number of punters looking like they wanted to get off their seats and 'D'. 'Good Love' and the album's 'Ball and Chain' are next and the first set concludes with 'Christine' to what has now become rapturous applause and demands for more. The band disembarks from the stage and Marcus sells a boatload of CDs. The second set starts and Marcus now has the audience in the palm of his hand. 'Keep On Pushin' is the opener closely followed by three from his CD, 'Heart For Rent', 'Dirty Shame' and the album title track 'One More Time'. This he dedicates to a young blind girl in the audience, as it is her birthday the following day. He rocks, he leaves the stage to sit and serenade a young lady at the front, he is all action, and through all this there is the driving rhythm of his band, and that charisma, and that velvet voice until finally, people begin slowly, irresistibly, to 'D'. OK, it's obvious but for those who haven't guessed, it rhymes with 'Prance'. At the Bull mind you! Not only that, but Marcus positively encourages them to do so and invites them to the front to do it, and they look as if they're enjoying themselves... as if that's what they came here for. Five new numbers and two encores later and a great night comes to a close. Marcus is a kinda Roman name don't you think? Well, he came, he sang, he conquered.

B.B. King, Marcus Malone

Royal Albert Hall, London SW7 3/7/99

From the moment Marcus Malone hit the stage it was clear he intended to enjoy this performance. He established a rapport with his audience immediately, each giving the other permission to revel in an experience new to both parties.

His band's mainly original set began with "It's A Low Down Dirty Shame" featuring appropriate and short guitar solos from both of his axe-men. Next came"The Wrong Side Of Love", which was more of a soul number with attendant sax solo and Marcus making full use of the stage. This was followed by the tortured resignation of "Drowning Man" during which Marcus' stage presence became even more evident. The sax player switched to harp for this and embellished the song with some good solo work.

The funk and humor of "Busted" were followed by what was very much a rock number during which harmonica was almost inaudible. Marcus recovered well from a backward trip over a stage monitor; excitement and adrenaline both playing their part.

Due to the accepted situation with the Royal Albert Hall's acoustics the near a capella finish of "One More Time" was the one brief chance we got to hear the true soul and strength of Marcus' voice. (This song was also announced as the title track of a forthcoming CD). The clearly delighted audience was given "Detroit Boogie Man" as the last number during which Redhouse tore the place down to end the set.

Marcus did himself proud in front of an audience he had endeared himself to from the opening seconds. He deserves to have them behind him as his career develops.

Frank Franklin
Blueprint '99

WALTER TROUT PLAYS HIS BEST EVER CONCERT AT WILBARSTON
Excerpt for an Interview with Walter Trout at the Hunting Lodge Hotel, 22 October 2000.

At Bilston several people said it was the best gig they had heard. I thought last night at Wilbarston was the best I had ever heard.

That's what I thought too. I called my wife after the gig and said "last night could have been the best I've ever played the guitar in my life. It could have been my peak so far".

And it's Wilbarston center of the musical universe !

That's it man. That's what that place is. It's got a certain energy when we play there, It's incredible. I think part of it is because everybody has to come there from the surrounding areas. It's not like they just have to walk down to the local gig to see us. They are coming there specifically to hear the music. So they come there with a lot of expectations and a lot of energy. Also, I have to say there was a great opening band (Marcus Malone) and they threw us a challenge. They really got everybody going. I was sitting in the back thinking the audience is going to be burned by the time we get on, I'm going to have to really kick some butt here, or I'm going to lose this crowd. And that's a good challenge to have, I like that.

He's a good guy and sings great. I was telling him that his voice remained the same voice, but as the genre of the music changed his delivery changed. When he was doing funk he sounded like a funk singer, but when he did a couple of hard rock songs, he sounded to me almost like Paul Rogers. He could change with the tune. He was great.

© Walter Trout Band Fan Club where full interview is published. Details from Richard Boyles and at www.WalterTrout.com