It’s a foggy night in London town (Whetstone actually) and I’m sitting backstage at the All Saints Arts Centre, which is a rebranded church hall where The Who (in their High Numbers era) played in 1964.  I’m chatting to the ever-approachable Billy Walton under the eagle eye of Plus One, who’s trying to make sure that I don’t morph into Lynn Barber mid-interview; as if.  This is roughly how  the conversation went.

AM         I’ve been following the tour on Facebook this time and it seems like it’s been a bit of a blast.

BW         It’s been great; the turnouts have been wonderful and the shows have been going fantastic and it’s nothing but happiness all round.

AM         The UK’s interesting because it’s always been a good territory for bands like yours hasn’t it?

BW         Yeah, guitar rock’s still alive and rock ‘n’ roll’s still breathing.

AM         It’s been nearly 2 years since we last met up, what’s been happening in that time?

BW         Actually, with my band we’ve been playing gigs and we’ve just recorded a new album called “Crank It Up!” and we’re very excited about it and we’re doing this tour pushing that.  Myself, I’ve been playing with Southside Johnny and the Asbury Jukes. I didn’t do the UK tour this time because I was doing my tour and finishing the album and I fly back next Thursday and play with The Jukes again up in Rhode Island, so it’s been a very busy summer, it’s been wonderful.

AM         You mentioned the album, I’ll come back to that in just a minute but I’ve noticed that you’ve become really popular with the Jukes fans as well.

BW         It’s been great, Jukes fans are music lovers and the Jukes are a unique band where nothing’s polished and you never know what’s going to happen and that’s what’s great and the fans dig into that because it’s happening in real time; even we don’t know what’s going to happen next.

AM         As a guitar player in The Jukes, there are some big shoes to fill there when you look at who’s been there in the past.

BW         Yeah Little Steven (van Zandt) and Bobby Bandiera who’s a great, great player but we’re the next evolution of The Jukes, so it’s a cool thing and to hear Southside sing every night is a pleasure.

AM         And Southside seems to be pushing outwards again with The Poor Fools.

BW         He’s always on the go, which we all are.  We all want to do different projects, do different things and evolve musically still, no matter what.

AM         So, tell me about the new album then.

BW         The new album; I’m very proud of it.  It’s a little bit more laid back than “Neon City”; the songwriting is a step up.  I’ve been doing some writing with this guy Randy Friel from Scullville Studios; he’s a good friend of mine, a great piano player and we’ve been hitting it off and writing, we just come with ideas and magic happens.

AM         With the kind of touring schedule that you’ve got with The Jukes and the Billy Walton Band, how do you actually manage to fit in the writing and the recording?

BW         I’m still trying to figure that out.  We did it and after we got the project done, you realise you can’t believe you made the time to do that.  It’s just constantly working and then we’re going to be on to the next album and on to the next Jukes show and the next Billy Walton Band tour, constantly moving, constantly evolving and trying just to get out there and play guitar.

AM         So, have you got a home studio that you use where you put ideas together?

BW         No, I don’t personally because I like being a guitar player and a songwriter instead of an engineer; I know a little bit about it and I have done it in the past to put ideas down but when you’re in a creative mode, you want to capture the creative mode instead of trying to get this take.  You want to stay in that creative mindframe, for me anyway.

AM         You and William (Paris) have obviously been together for a while now and I’ve seen that on stage it’s almost telepathic sometimes, so do you come along with an idea for a song and you work on it together?

BW         Yeah, constantly.  He has ideas he throws at me and I throw them back and they evolve.  We do some jamming in the middle of songs and sometimes that sparks something; every song comes in a different way.  It’s not like it’s cut and dried; okay, next song.

AM         It’s a bit like that that Keith Richards quote that you don’t write songs, they’re just in the air and you have to pick them out.

BW         Well, he had a few.  We were talking earlier about Randy Friel, where the magic was happening.  If you like somebody and you surround yourself with good people, have a good time, pop open a beer, have some fun, do some writing and just let it go then you’re creating instead of just champing at the bit trying to put a song down to get it out there.  That’s what’s different about this album.  Not running out of time, just doing it.

AM         So is most of the material on the new album your own songs?

BW         Yes, it all is; no covers.

AM         That’s great, I’ll look forward to hearing it.  I understand there was some original financing on the project as well.

BW         We did the Kickstarter programme, which is a great, great programme not only for music but for all the arts; for people who want to put movies out or artists.  You’re preselling your album and offering alternatives and people really dig in to it and it’s great for the artist because they don’t always have the money upfront and it gives you the ability to create more instead of being held back financially.

AM         That’s great, thanks for your time Billy.

BW         Thank you.

And that should have been the end of it; get a few photos, have a couple of Buds and enjoy the bands for the rest of the night.  I’ve done a live review of the band already and I’ve seen them a couple of times so there’s no reason to do another review.  Okay, I was wrong; I’ve seen the Billy Walton Band twice doing support sets and tonight they’re headlining which is a whole new ball game.

The support band is The Stone Electric who play a steady opening set which brings to mind early 70s British bands like Free and Stone the Crows or, more currently, The Black Crowes and they feature the powerful voice of Noni Crow.  They get a fairly good response, and the audience are pretty nicely warmed up for the headliners.

The nucleus of BWB is Billy Walton and bass player and co-writer William Paris joined on this tour by drummer Simon Dring and tenor sax player Richie Taz and from the moment they take the stage it’s a bit like being hit by a hurricane.  We’re only halfway through the first song when Plus One makes the observation that Billy’s an incredible guitar player, which is an understatement if anything but I’ll come back to that later.

Billy and William have played together for several years now and could add any other competent musicians to the mix and it would work out pretty well.  This time, however, Simon Dring and particularly Richie Taz (who plays on Billy’s new album), add many different options to the usual BWB power trio set, including the opportunity to throw in a couple of Springsteen covers, “Badlands” and “Rosalita”.  For most bands these would be brave choices but the quality of the playing, particularly the interplay between guitar and tenor sax, is so good that the band produce stunning versions of these songs which have all the power of the E Street Band originals.

The set lasts for a couple of hours and is a mix of material from the new album, older Billy Walton originals and a few covers thrown in.  Although Billy Walton is a great rock player, he’s capable of a lot more besides;  the set tonight includes the live favourite “Soul Song”, the country blues of “Deal with the Devil” and the early Springsteen feel of “The Deal Went Down” (both from the new album) and the band sound tremendous in all of these styles.

What makes BWB so special live isn’t just the outstanding technical ability; the band know how to entertain and to sell the songs as well.  They play with a huge sense of enjoyment and aren’t afraid to inject a bit of humour into the show.  The solos and jams can lead anywhere; how about breaking into the Surfaris’ hit “Wipeout” or the “Peter Gunn” theme during a solo or throwing in a verse from The Who’s “Baba O’Reilly” in the middle of “Badlands”?  The band knows how to pace the set, picking the moments for the slower-paced material before building up a head of steam for a barnstorming finish and then it’s all over, leaving the band and the audience completely drained.

Do yourselves a favour and go out and see the Billy Walton Band next time they’re in the UK; I’ll even let you know when it is.  Any band that can make such a glorious noise with an audience of about 150 in a church hall in Whetstone deserves to reach a bigger audience.

17 years since Love and Money broke up, apparently for good, they’re back. After reforming for a one-off show as part of Celtic Connections 2001 to play their albums “Strange Kind of Love” and “Dogs in the Traffic”, the band decided that it worked so well they should take the show out on tour. Which is why I’m at Shepherd’s Bush Empire with PlusOne to watch Love and Money in London.

Unsurprisingly, there are a lot of Scots in the audience which is fiercely and vociferously partisan. The venue isn’t quite full, but the enthusiasm on display more than makes up for that; they’re all here to see the band triumph.

This is the classic Love and Money line-up with the addition of Ewen Vernal (ex-Deacon Blue among others on bass) and the wonderful Frazer Spiers on harmonica and backing vocals and they’re obviously up for a good show.

The musicianship is exceptional throughout as the band do their bit to showcase the well-crafted songs, James Grant’s baritone vocals and exceptional guitar work. James Grant is the perfect frontman; stick-thin, suited, in shades and able to entertain the audience between songs with stories about BB King, Tina Turner, Simply Red and his dad’s life in Glasgow.

The night is split into 2 halves. The first half is the whole of the 1991 album “Dogs in the Traffic”, which the band obviously feel is slightly less popular, followed, after the interval, by all of “Strange Kind of Love”. Whatever the band might think, there are plenty of highlights in the first half including “Whisky Dream” and the anthemic “Looking for Angeline”. “Pappa Death” shines out from the set as a song which was made for live performance; the album version seems insipid in comparison with version delivered tonight.

The “Strange Kind of Love” half of the performance features all the tracks except one from the album. The squeaky-clean, shimmering Gary Katz production of the album is impossible to recreate live, so the songs are much more raw, but no worse for that, relying on great playing rather than studio expertise. It’s difficult to pick out highlights because the performances are all great but the audience are all shouting for the big single “Jocelyn Square” and it’s a huge moment when the guitar intro finally kicks in and the band launch into a powerful version of a great song about lost love and innocence.

The song from the album which doesn’t feature in the set is saved for the encore; “Walk the Last Mile” is dedicated to the late Bobby Paterson, former bass player with band who died in 2006. It’s a touching tribute to a great musician, who is obviously still missed by the rest of the band. Throughout the evening James Grant makes references to Love and Money working together again and confirms this towards the end of the set, announcing a new album and full UK tour next year. The band go out on “Candybar Express”, which James Grant describes as “the most moronic song I ever wrote” and it’s all over.

Love and Money are back, they’re as good as they ever were and they’re recording new material. If you like songs that are well written and well performed with a nice line in Glasgow patter between songs, then you really should get out to see these guys next year.

There was a particular moment at the Stranglers’ Edinburgh gig where the band seemed to have truly succeeded in bringing the audience together. About six songs in, the Picture House was flooded in orange light and a huge chorus reached an even bigger climax:  “Always, always, always the sun!”. No person present could resist singing as loud as they could muster and the sound was incredible. Grins appeared across the faces of everyone onstage, the first time this had occurred the whole night.

This doesn’t mean that the band hadn’t had a good time up to this point. They had already bounced their way through the hit “Peaches” amongst others to everyone’s delight. The Stranglers almost didn’t play the Picture House. It quickly became apparent that Baz Warne had suffered some sort of accident involving a hotel shower door before the show and had one hand almost completely covered in bandages, making the energy of their performance even more surprising. There was of course the odd wince and moments where the guitar would stop as Warne inspected his hand but all this did was make the performance seem more human, something all crowds love, this one in particular.

Despite this, bassist Jean-Jacques Burnel seemed to be doing a very good job at looking as unimpressed with anything as he possibly could. Drummer Jet Black was an extremely tight performer but at his current age of 72 he seemed to be putting all of his energy into keeping this up: at the start of the band’s second song, “Was It You?”, there seemed to be a bit of a mix-up with the setlist. A total of three false starts were played and the culprit seemed to be Black playing the drum part for an entirely different song. Each time the band stopped, Burnel and Warne both turned to Black and exchanged confused and amused looks as they attempted to run it again.

At the age of 46, Baz Warne is the youngest here, replacing Hugh Cornwell as lead vocalist. He brought most of the band’s raw energy to the stage and did all the talking, which didn’t amount to much: only a song introduction here and there and an explanation of his own hand injury.

The band gave the audience a portion of the show to calm down, playing songs that were perhaps not as well known as the obvious hits and favourites of big fans.  This made the return to the signatures extremely welcome and showed how well the Stranglers can craft a setlist, managing to raise the excitement even further by cheekily leaving the enormous rocker “No More Heroes” until the final song of the second encore, finishing the night with a boom. Other songs included in the encore were a stellar version of the Kinks’ “All Day And All Of The Night” and “Hanging Around”.

Of course, it wouldn’t be fair not to mention support act Wilko Johnson who played for a good hour beforehand, still strutting all over the stage as he is famous for. It was remarkable what a sound his band of three, including himself, managed to make as he stormed his way through Dr. Feelgood hits as well as solo material. This was a perfect opening for a consistently rocking night.

Just remember where you saw the name first. The latest addition to the MusicRiot team, our new writer Lou Anderson, is also drummer in the Edinburgh band Modern Misfortune who play their first gig at Studio 24 on Calton Road in Edinburgh on Saturday April 2nd (tickets £6 on the door).  The set is predominantly original material and one storming cover version.  Doors open at 6:30pm.

You can hear the band’s first recorded song here:

http://www.youtube.com/watch?v=xI1TsYGm874